Bush Artist 2004Fellows Bush Artist 2004Fellows 4 2004 Bush Artist Fellows

CHOREOGRAPHY MULTIMEDIA PERFORMANCE ART STORYTELLING

Danny Buraczeski Laurie Carlos Emily Johnson Gülgün Kayim Kari Margolis Danial Shapiro

VISUAL ARTS: THREE DIMENSIONAL

Amelia Biewald Gary Greff Amy Toscani

VISUAL ARTS: TWO DIMENSIONAL

Alexa Horochowski Faye Passow Jenny Schmid

TRADITIONAL & FOLK ARTS

Mary Louis Defender Wilson Gao Hong Douglas Trail-Johnson

2 Bush Artist Fellowships

stablished in 1976, the purpose of the Bush Artist Fellows Program is to provide artists with signifi- E cant financial support that enables them to further their work and their contributions to their com- munities. An artist may use the fellowship in many ways: to engage in solitary work or reflection, for col- laborative 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

TRADITIONAL & FOLK ARTS

SCRIPTWORKS Playwriting and Screenwriting

MUSIC COMPOSITION

FILM • VIDEO

CHOREOGRAPHY • MULTIMEDIA PERFORMANCE ART/STORYTELLING

Applications for all disciplines will be considered in alternating years.

3 2004 Panels

PRELIMINARY PANEL Pepón Osorio Fred Nahwooksy CHOREOGRAPHY Visual artist Museum development and MULTIMEDIA Philadelphia, Pennsylvania arts consultant PERFORMANCE ART Eagle Point, Oregon STORYTELLING PRELIMINARY PANEL David Roche VISUAL ARTS: Brian Freeman Executive Director TWO DIMENSIONAL Playwright and director Old Town School of Folk Music Director, Blacksmyths Theatre Lab Chicago, Illinois Center Theatre Group/ Saralyn Reece Hardy Mark Taper Forum Director and curator FINAL PANEL Los Angeles, California Salina Art Center Salina, Kansas Sarah Skaggs Marsha MacDowell Choreographer and Artistic Director Duane Slick Folklorist and curator Sarah Skaggs Dance Visual artist and Associate Professor Michigan State University Museum New York, New York Rhode Island School of Design East Lansing, Michigan Providence, Rhode Island Theodora Skipitares Pepón Osorio Multimedia artist and director Barbara Earl Thomas Visual artist New York, New York Visual artist and writer Philadelphia, Pennsylvania Seattle, Washington Theodora Skipitares PRELIMINARY PANEL Richard Torchia Multimedia artist and director VISUAL ARTS: Visual artist and Director New York, New York Arcadia University Art Gallery THREE DIMENSIONAL Philadelphia, Pennsylvania Duane Slick Visual artist and Associate Professor Petah Coyne Rhode Island School of Design Visual artist PRELIMINARY PANEL Providence, Rhode Island New York, New York TRADITIONAL & FOLK ARTS Kay Turner Ron Meyers Folk Arts Director Ceramic artist Marsha MacDowell Brooklyn Arts Council Athens, Georgia Folklorist and curator Michigan State University Museum Brooklyn, New York Judy Moran East Lansing, Michigan Project Manager, Public Art Program San Francisco Arts Commission San Francisco, California 4 Bush Artist Fellowships

he Bush Artist Fellows Program supports artists received fellowships in the past, we are pleased that Tof demonstrated ability who reflect any of the this new category not only has encouraged many region’s many cultural, geographic, racial and aes- other strong artists to apply for a Bush Artist thetic variations, and both its rural and urban char- Fellowship, but also has provided a more effective acter. Among the qualities the program seeks in an review process for their important work. artist are strong vision, creative energy and persever- Fellowships consist of stipends of up to $44,000 ance. Artists must be 25 or older to apply, and may for a 12- to 24-month period. In 2004, 15 artists be at any stage of career development, from emerg- were selected to receive Bush Artist Fellowships. ing through established. Up to 15 grants are made They were chosen from a total of 691 applicants, the each year. There is no requirement as to the number largest number we have received in a single year. of awards to be made in each discipline, and there- Grants are made through a two-part selection fore, that number may change annually. process. Separate preliminary panels for each catego- In 2004 traditional and folk artists applied in a ry review applications and work samples to select new category dedicated to those visual, craft and finalists. An interdisciplinary final panel then performing artists whose life and work is deeply reviews the pool of finalists and chooses those who rooted in and reflective of a community’s cultural receive fellowships. The final panel includes one life. A total of 103 artists submitted applications in member from each preliminary panel plus one addi- the traditional and folk arts category. They included tional panelist. All panel members are working dance and music artists, storytellers, woodcarvers, artists, curators or critics living outside Minnesota, basketmakers, and artists working in metals, beads, North Dakota, South Dakota and western quills and rosemaling. They represented many of the Wisconsin. diverse cultures of our four-state region – American This catalog introduces the 2004 Bush Artist Indian, German, Mexican, Irish, Russian, Middle Fellows and their work. We are very proud of them Eastern, Southeast Asian and African, to name a few. and wish them great satisfaction in pursuing their While folk and traditional artists have applied and individual visions.

Julie Gordon Dalgleish, Program Director Kathi Polley, Program Assistant

5 Perspectives

write this brief essay in days of continuing war, days flirted ideas with fine artists and vice versa. I after a Presidential election that has divided our Remarkably, this new inclusion proved invigorating, nation, in days that have once again seen art censored not to the prospect of defining and isolating discipli- and culture become a battleground. These are days nary concerns, but, rather, to the prospect of crossing that beg for restoration, days that require a strong through boundaries of category and class to reach commitment to dialogue with others, whoever “the that territory where we might give more insightful, other” might be. In traditional societies that task of generous consideration to the authority and inten- dialogue falls to the storyteller, the “singer of tales,” tion—yes, even the wisdom—of art and its creators. who blurs borders and lines of separation, who con- This is not to say that defining genres is empty of fronts dogma with a love of detail, difference and its benefits. In my line of work, folklore studies, it is ambiguity. Perhaps more than ever before, we need still quite useful to distinguish, for example, the dif- storytellers now. ferences between a religious myth and a secular folk- The few foundations in the United States whose tale; to know how types of stories serve varying social missions include support of individual artists have and cultural purposes. But to minimize the restraints always been a precious resource, but in these times we of evaluating art forms primarily on the basis of cate- feel especially their singular necessity as havens for gory avoids a view of artistic tradition as that which free artistic expression and the dialogue it inspires. houses essential fidelities. Too often, curator John This year the possibility of such dialogue was given Szarkowski suggests, artistic tradition is seen as “sim- new occasion by the Bush Foundation. For the first ilar to a fortress, within which eternal verity is pro- time in the history of its artist fellows program, an tected from the present. In fact it is something more application category for traditional and folk arts was useful and interesting, and less secure. It exists in the created to help insure greater participation of story- minds of artists, and consists of their collective mem- tellers and woodcarvers, among others, along with ory of what has been accomplished so far. Its function visual artists such as printmakers and sculptors, is to mark the starting point for each day’s work.” choreographers, and performance artists. On the Artistic tradition speaks not so much to category review panels, folklorists—also for the first time— as it does to lineage. It is a reminder to current artists

6 not only of what other artists have made, but who an ancient inheritance. Women have always told sto- other artists have been in their time, and what they ries—in words and song and in things made, such as intended in their historical moment. quilts and pots. In many cultures, the storytelling arts A significant number of this year’s grantees are are considered the province of women. And, through- women, and the idea of lineage is helpful in address- out history, in times of their persecution when few ing their achievement. Years ago I might have other means of expression were possible for them, invoked the category “women’s art”—once useful women used their narrative powers to subversively polemically and as a mode of discovery—to capture tell a different side of “the story.” In the Greek world something definitive about this group of artists. Yet, a storytelling’s icon was the Sibyl. Centuries ago Ovid sense of accord in their work, expressed in various ended his version of her story in the Sibyl’s own media, is not noteworthy purely as a fact of gender. It words: “...the fates will leave me my voice, and by my is, I think, additionally remarkable in terms of the voice I shall be known.” According to Marina way these women name a common intention: to Warner, “The Sibyl, as the figure of a storyteller, make art that reveals the power of story. Sounding bridges divisions in history as well as hierarchies of throughout their application statements, a distin- class. She offers the suggestion that sympathies can guishable note of purpose: the desire to “find new cross from different places and languages, different ways to tell stories” or to create “visual narratives” or peoples of varied status.” Her voice travels, even to to narrate “my own moralistic tales” or to claim “my the present day. subject is women’s voices” or to teach that “stories are Women take seriously this injunction of story- a source of guidance.” telling: storytelling, as philosopher Richard Kearney This narrative impulse, this urge to tell a story. suggests, makes possible “a shareable world.” The Why women’s interest in telling stories? Why story- story in society creates an opportunity for dialogue, telling now? for critical intersection between “teller” and “listen- What seems new is actually old. Leading a gener- er.” Stories invite us to participate in the particular al preponderance of attention to narrative in recent and the universal, at once. Stories access the heart of art, women have, in effect, returned for inspiration to creativity as a place where body and mind, conscious

7 and unconscious are fully engaged, where both nega- mately to inclusion. tive and positive coexist as sources of agency. Both How to include instead of exclude? How to keep argumentative and restorative, stories ask us to come old stories alive, how to make ancient stories new, or into being, to be someone. Though fleeting in their how to create new stories? As given evidence by many telling, they lodge in memory and contain lasting of the 2004 Bush Artist Fellows, this is the burden value, offering instruction for the future. Their and joy of both traditional and contemporary artists lessons are portable; you can take the meaning of a in the first years of this distressing new century. story with you into good times or bad. May her story be told. And heard. Of course stories and their tellers do compete with one another, but stories, in the truest sense, are not Kay Turner, Folk Arts Director for the Brooklyn Arts Council, meant to win or lose. They are a civilizing influence, holds a Ph.D. in folklore from the University of Texas at Austin. and the telling of a story is never far away from Her areas of specialization are in women’s folklore, oral narra- tive, folk art and material culture, folk religion, and traditional attempting to achieve the effects of what Africanist dance. Turner is adjunct professor in the Performance Studies M. Akin Makinde calls “oral medicine.” Stories are Department at New York University, where she teaches courses told as a way of filling in social gaps, great and small, on oral narrative theory, time and performance, and the per- formance of gender. and they help us avoid the pitfalls of what Deena Metzger calls “cultural self-loathing,” in part the About Perspectives: Each year we invite a panelist, artist fellow or result of an overdetermined reliance on incontrovert- other community member to share his or her insights on a topic of ible rules and doctrines aimed at exclusivity. Because interest to our readers. We encourage the writers to share in this open forum their point of view, experiences and knowledge about this stories are constitutive of sharing, they are open to broadly defined theme. The writers’ opinions, however, are theirs and multiple interpretations, to contradiction, and ulti- not necessarily shared by the Bush Foundation.

8 Jennifer Brackin and Jesse Walker in True Believer 2004 photo by Erik Saulitis

9 Danny Buraczeski

Dancing and choreography have been my life’s work, my education about people, the world at large, and myself. My dance making began as and continues to be a physical response to music—a search to build an authentic and contemporary jazz dance vocabulary based on vernacular forms. I consider the dancers in my work to be voiceless musicians, using their bodies alone and together to live inside the music.

“I’m the antithesis of Fosse,” says Danny music, which has such richness in it.” Buraczeski. “I’ve never been interested in The blues-based rhythms of Odetta, a singer seducing the audience. I’m interested in includ- known for her soulful connection to the roots ing them in a dialogue of music and the world of American music, shaped his most recent by using great jazz.” Founder and project. “The power of her music artistic director of JAZZDANCE, and what she sings about is relevant now it its 25th year, Buraczeski has right now. I’ve been feeling uncom- been called “one of the few true jazz fortable in my own home. I want to choreographers.” explore the power of community His first encounter with both and kinship. jazz and dance came by chance. “Every time I start a new dance, After growing up in a small coal I never know what will happen, but mining town, he pursued a degree the process is so sustaining to me. in Japanese studies. “Dave Brubeck music was Being in a room with nine people who I trust playing as I walked up the stairs to a dance and like exploring ideas with—I miss that so teacher’s studio. I thought, this is it and it was,” much when I don’t have it. I work hard to reflects Buraczeski. “My whole career has been make sure it turns into something that I’m about developing a way of moving through this proud of and can share with other people.”

10 The cooking pots hurl steam containing cumin, chilies, pepper MONKEY: I can only smell this river. The pots are filled and pork. The pots are in the rooms and on the table as well as with regret. When will the regrets get gone? Move into the the chairs and altars. Veve are filled with the faces of all the foam? Become soot? world. They are hung and light moves to reveal their particulars. Long walks are given for remedy in songs remembered or created ANANYA: Who are we going to give all this food to? Who in the moment. Clothes and props are formal and casual with is going to say thank you and clean the plates? Lick their fin- specific colors for the women who arrive with their gestures. The gers? Who will clean the nail with the tongue? Who are we visions start with the smells while the story comes fused in oils, feeding? threads, light diced onion, marigolds, photos. Voices glean their own pattern. The women enter and tend to the pots. They sit MONKEY: I’ve made salads of cresses with endive, olives, and stand and hum. One of the three sets fires and turns thread goat cheese and chervil. I don’t eat them; I serve them up to in her hands. Some come so close to each other as their faces look whoever wants them. Who is gonna want them? That’s how to the river. it is. I don’t clean the dishes or eat the leftovers or even serve. Just let them spoon and pick. ANANYA: Behind us there are the temples and the deities are watching all of us. What do you dream at the river? Do the dances flow from this place? MONKEY: Is this your river? ANANYA: I wade and remember. The temples are behind ANANYA: This is the river I have wanted always. Here it is us. now. MONKEY: The regrets are all I know now. The inability to MONKEY: You said black mustard seed? I’ve never used it. shake regret is all I know standing here at the river. I want new clothes. A disguise, a revealing look that gives comfort. ANANYA: It’s what makes it. The black mustard seed and New choices. green chilies. ANANYA: Changing your clothes won’t give you peace or MONKEY: I like a lot of lemon and yogurt with tomatoes. bring you back time or cleanse regret.

ANANYA: We have a name for that. Ananya hums.

MONKEY: Yes. A name for every variation. Green chilies! MONKEY: I’ve known. I know. I have always known this. Every day for hours at a time I dig into the wounds of it. If ANANYA: This is where I have always wanted to be. when we hear the music we could know the emptiness of the melody at the first note. So much regret. He was dead all that MONKEY: Here? Are we in Calcutta or Manhattan or at the time. edges of Tunica? Oliver Lakes’ horn blows. Ananya finds it and gestures. They move into the space and their faces turn out to the horizon as they watch the waves in a breath. Each retreats and the music ANANYA: Which river is this? tingles.

ANANYA: You are standing here with our hands stirring excerpt from Marion’s Terrible Time Of Joy 2003 pots, who are we feeding?

11 Laurie Carlos

My work has always been concerned with the nature of black and female life for stage. I wanted to give voice to the diverse rhythms and kitchen dances I knew to be the texture of the cultures I lived in. All the dance work and text work I have done with women and writers has sought to give voice to a core sense of joy.

“There has always been a pork chop war. Family and idiosyncratic movement and song. “On stage, members who won’t have it in their house; others actors do things gesturally to further the language. who devote acres to barbecue. What separates and I write language very specifically to create those creates conflict and becomes mandatory that gestures.” An innovator and influence in the someone else die around the disagree- development of performance art, ment can be as simple as a recipe, can Carlos has worked with Ntozake divide a family.” Laurie Carlos is Shange, Thought Music, and describing The Pork Chop Wars, a work- Penumbra Theatre, and was a found- in-progress she terms, with custom- ing member of Urban Bush Women ary precision, “a performance novel.” and co-artistic director of Movin’ “This subject matter turned out to Spirits Dance Theater. be much bigger than a theater night,” “I have chosen to be in the world she says, acknowledging the complex- as an artist so I can serve. It may well ities that have surfaced in her research into the be connected to my deep love and faith for what women of her maternal and paternal families. “All is human. There are moments I am filled with so my work that I have excavated and put on paper much joy and such deep conflict and satisfaction is at its core this story.” at the same time, I won’t relinquish that for what- Carlos is a writer and performer of poetic text ever it is that everyone else is talking about.”

12 Gas Station 2004, commissioned by Walker Art Center photo by Cameron Wittig for Walker Art Center

13 Emily Johnson

Real, human bodies are an excellent medium with which to make art that heightens the emotional aspects of specific political and social issues. I take into account the pain, danger, love, distraction, anxiety, hypocrisy and joy our bodies feel, and make dance that connects to audiences and collaborators emotionally and viscerally— so that performing bodies become a catalyst for discussion, communication and change.

“It’s pushing a line of light, a thread of an idea Johnson grew up a runner and athlete in outward to a specific point in your body, know- Alaska and found dance a way to tap into her ing where from within it originates and where it love of pure physical exertion. “I’m also empa- is going to end up. Seeing it on the outside is thetic,” she says. “Dance is how I’ve chosen to less important than seeing that the do my work.” Her tough-minded dancer is investigating the move- pieces, many with music by cutting- ment as they do it.” Emily edge instrument group Lateduster, Johnson’s choreography blends an don’t blink at confronting what intense, individualized movement troubles her. style with an interest in narrative As an adult, she returns to Alaska, created with a close-knit company. bringing her company to perform “I work from the struggle side of and rehearse on glaciers, in bars and things,” she admits. “I’m interested at the beach, and to further her in how we each respond in the face of some- interest in the Yup’ik Eskimo dance tradition, a thing.” She’s brought to the stage heated works cultural forum for both entertainment and dealing with violence, power and global climate awareness. “Hundreds of people will watch change. “I think art can be a source to inspire dance for hours. I am invigorated by the fact change. Dance can penetrate the emotional that dance can deliver social and political con- body of an audience.” tent in an emotional and narrative way.”

14 The Orange Grove 2003 photo by Willis Bowman

15 Gülgün Kayim

I work in a hybrid art form combining concepts of theatre, installation and architecture. The myriad possibilities of space and the spatial relationships in art and performance are fascinating to me— the relationship between artist and place, between audience and artwork. With each new work, I seek to explore disciplinary boundaries and create an experience that defies category, constructing its own paradigm for experience.

Co-founder of Skewed Visions Performance breaking down concepts into separate performa- Company, Gülgün Kayim creates site-specific tive elements to be experienced in different spaces. performances keyed to the topographic, historic Kayim grew up in the Turkish Cypriot com- or cultural elements in the space. “It’s about munity in London. Her work in the coming year putting people into an experience. includes a piece based on interviews Experience is not frontal; it sur- with Turkish Cypriots in Cyprus and rounds you.” The Minneapolis London, and an evocation of the life Farmers’ Market, an abandoned bomb and art of writer Bruno Schultz. This factory, and the front seat of a mov- second project will expand on Kayim’s ing car have all held Kayim’s chal- work with “object theater” in The lenging work by putting the viewer Orange Grove. She hopes to learn in the middle of an imagined reality. puppetry as a way to evoke “the pecu- In Kayim’s trilogy, The City Itself, liar world” of Bruno Schultz, and to she conceived a series of performances examining continue to write, design and direct. the meaning and experience of intimacy in the “I didn’t set out to do all of it. I just set out to urban environment. The trilogy, meant to be be a director. Yet I say to others who are having experienced by the audience in sequence over a difficulties creating their work: You get back what three-month period, presents (for her) a new you put in. If you satisfy yourself as an artist, the development in her chosen mode of expression— reward will be multiple.”

16 Koppelvision 1992 Featured in photo: Beth Brooks, Stephan Geras, Andrea Dishy and Michael McGuire photo by Tony Brown

17 Kari Margolis

My work is often full of wry humor and social commentary that is suggestive rather than didactic. Its dramaturgical structure is guided by an organic sense of rhythm, shape and contrast. I seek to meld the primal and the technological, the visceral and the intellectual. I am interested in finding new ways to tell stories, ways that will excite and stimulate an audience's imagination while provoking them to question their own feelings.

K ari Margolis has focused her 30-year career derives from its social consciousness. “The poli- in the theater on the physical expression of the tics of the time have a lot to do with what I’m actor interacting with video imagery and other writing. Sleepwalkers was a 9-11 reaction. We media. Her work is lush, imagistic, humorous actually switched gears while working on and provocative. “If there is one American Safari to create it.” thing people love or don’t like about Margolis is at work on what may the work, it’s the density of image become a rare solo performance and idea and stimulus. I work piece. The Day I Turned Invisible toward creating theater that you stems from her investigation into would want to react to more than aging, as a woman and an artist who once, like a poem.” makes a living with her body. “I Growing up, Margolis choreo- don’t like being introspective; I like graphed the kids on 104th Street in being in the world. But the inten- Brooklyn for a production of West Side Story. tion this time is to do a soulful research. When I “Early on I said, ‘I’m going to be an actress,’ but start creating a work, I allow many months for traditional theater was not what I wanted.” In accumulating images, bits of text, moments of her collaborations with Tony Brown, she has cre- confrontation. It forces a return to being com- ated a body of work whose haunting power often fortable working on a razor’s edge.”

18 Daniel Shapiro and Toni Pierce-Sands in Big Black Heaven from ANYTOWN 2004 photo by Paul Virtucio

19 Danial Shapiro

Dance is a direct current of experience, expressing human sentiment, capturing the rhythms, connections, crises and ruptures of our internal lives. Laced with lyricism, my dances seek the poignancy underscoring ideas and emotions. Creating other spaces and sketching real life in metaphoric and imagistic ways are challenges that attract me. I continue to be surprised and amazed at what happens when committed people walk into an empty room intent on making something up.

“The story I tell is that at eleven, I moved from ANYTOWN, a dance/theater piece with the the suburbs of New York to Pacific Palisades. I music of Bruce Springsteen, Patty Scialfa and was a skinny, intellectual kid, and got beat up all Soozie Tyrell (Joanie’s sister). “Their songs tell a the time. So I started studying martial arts.” story that overlaps. The themes have roots in Recruited for a high school produc- Woody Guthrie, the WPA, Dylan. It tion, Danial Shapiro found in dance resonates with the time between the what he’d been looking for in the wars and the time that we are in now.” martial arts. “The experience of mov- Shapiro is readying for a major tour ing with someone, the give and take, of ANYTOWN in 2005. He’s incor- motion that has danger put to it.” porating multi-media elements—pro- Shapiro and his wife and partner, jected text and closed circuit video— Joanie Smith, have been moving to allow lyrics and close-ups of dance together for nearly 20 years as elements to become part of the pro- Shapiro & Smith Dance. Known for the physi- duction. And he’s contemplating the future. “We cality of their dancing and the emotional reso- set a course and we’ve run a long time. But, we’re nance of their choreography, they made the deci- not going back to repertory, and we’re not going sion to stop performing the repertoire created at to do a project with Sting next,” he laughs. “It’s a that time. Shapiro has since been at work on whole new world.”

20 She-Wolf #1 (detail) 2003 acrylic, gouache and resin on board

21 Amelia Biewald

My artwork is influenced both by art histories and theories directed towards themes of beauty and allure, and the media culture that feeds these aesthetic ideals. Supernatural beauty is what we are told we crave by a multi-billion dollar industry. I am interested in the visual possibilities of the supernatural, where the line between what is artificial and what is natural becomes blurred.

Amelia Biewald finds an analogue to the skin, clothing and body parts. Soon she added contemporary cult of plastic surgery in the illu- latex, shrunk the scale, and moved into the sion and artifice of 17th-century court painting. installations she considers three-dimensional Her large-scale installations create elaborate sur- paintings. Crafting finely made objects from rub- gical settings to explore the impulses ber, upholstery and resin, she creates and ideas behind beauty and artifice. spaces that are disturbingly silent; “Surgical technique and unnatural there’s a tremor beneath the placid materials can produce a beautiful surfaces, a hint of the grotesque that surface, but what is concealed beneath provokes a closer look. might prove to be quite sinister.” Her current work—the creation In recent work, large forms sug- of highly ornamented parlor rooms— gest a body image while projected approaches these same concerns. “I’ve video—such as a close-up of wolf been making furniture—things like a fur—creates a surface that isn’t there. “There’s a daybed that is the belly of a wolf. I have an over- sensual moment; you want to touch it; but there’s active imagination. If I didn’t make these objects, no return. I want to bring people into the sur- I would obsess about them. It’s really about the face, but when they inspect it, there’s a duality, a conversation, one object to the next in the space. dream-like quality, a dark humor.” I create relating sculptural objects, and then use Biewald began as a painter of close-ups of the installation space as the final punch line.”

22 Geese in Flight 2001 110’ x 150’, 78.8 tons Recognized in Guinness Book of Records, “World’s Largest Scrap Metal Sculpture”

23 Gary Greff

Folk art is a vital expression and reflection of rural life, and one that takes place through the medium of metal on the Enchanted Highway. This project has had two primary objectives—increase opportunities for artistic expression and appreciation, and for economic development. I will continue to build sculptures, putting folk art back into the hearts and minds of the American people. I will “build it and they will come.”

Just off I-94 east of Dickinson, North Dakota the idea, and everybody was gung-ho. Now it’s is a 32-mile stretch of highway like no other. It just me and a high school kid welding.” It takes leads to the town of Regent, population 211, and Greff three years to raise funds and complete a it’s studded with monumental sculptures crafted sculpture. He’s installed seven; he longs for an from scrap metal by Gary Greff, a assistant. “When I’m out there and visionary of the prairie and a self- the snow is flying, I think—take heart!” taught sculptor. “I was trying to fig- As a teacher and school principal, ure out how to keep this small town Greff had “never laid a bead of weld,” alive. All farmers like to weld; it’s before beginning work on the high- part of our culture. I thought, no way sculptures. When Greff graduat- one will stop for normal, but they ed from high school, his principal will stop for the world’s largest.” discouraged him from going to col- For the last 14 years, Greff has lege. “That's all I needed to hear.” worked to complete his vision of the Enchanted Greff took the challenge and became a principal Highway: eleven sculptures that reference the himself. “When people see my sculptures, I want world around them, the largest—“Geese in them to think, ‘If this man can do that, then I Flight”—110 feet tall. “I went everywhere to sell can do anything.’”

24 Lumpkin 2002 tin trays and inner tubes 122” x 96” x 96”

25 Amy Toscani

Basically, I want to make work that makes the hair on the back of my neck stand up. My work hovers between voluptuousness and absurdity. They are self deprecating, yet still have a physical ruggedness about them. The skin of each piece is worked to the point of craft. My art is a weird mix of fantasy and 4-H.

Amy Toscani’s large-scale sculptures suggest cone-shaped whirly-gigs. vaguely recognizable objects—found in a kitchen “I think my work reflects the aesthetic of my in outer space, perhaps. Working with tile, steel, childhood, retro-looking, kitsch, hippity-hops vinyl, rubber, fiberglass—and occasionally TV and Erector sets.” An early interest in music trays—Toscani fashions a detailed, pointed toward a future in radio, textured skin for her industrial, bio- though she’d studied enough visual morphic forms. Colorful and arrest- art for a major. An encounter with the ing, they provoke and disturb, foundry changed everything. “Two- despite their playful appearance. “It’s dimensional work never resonated easy to explain inexplicable art when with me. I loved welding immediate- it’s on a coffee table, but when it ly. But if you saw my sketch book takes up your whole living room…” you’d recognize my sculptures.” Her desire to expand into public At one point, Toscani thought art and to experiment with animating sculpture she’d give sculpture just a year, as a trial. Twenty found expression in her most recent work, years later, she’s still finding a place for steel quilts “Muscle,” an outdoor commission from the City and hand-made inner tubes. “I’m not one of of Saint Paul. Like an improbable 26-foot landing those people who say, ‘I’ve gotta make art.’ Still, I module, a bulb of quilted blue steel sits atop a can’t quit. ‘Keep your hand on the plow.’ It’s a freestanding arch, hoping to be beamed up by metaphor for life—making art.”

26 Untitled 2004 acrylic on paper 45” x 54”

27 Alexa Horochowski

A friend once described my work as “forensic naturalism,” a prose-like, figurative style, all facts and descriptions that dissect the expectation of a linear narrative.

Alexa Horochowski paints on walls. Her Movement to a new medium is not unusual images, like illustrations from a realm where the for Horochowski. She has worked in printmak- fairy tale meets a provocative sensibility, suggest ing, installation, sculpture and video, and has an ongoing story. The protagonists seem caught studied photography, creative writing and jour- in a moment of awareness provoked nalism. “My work is driven more by by an off-stage event. “When I first ideas than a medium. Most of my got into drawing, I was very tenta- work deals with issues of my trans- tive. The more I worked, the bigger cultural experience. I am neither my paper got.” Eventually, the wall American nor Argentinean. This has became her surface. “Because the made me interested in everything figures are larger than life, the view- that is ambiguous and contradictory. er is minimized and the work beck- I play with notions of beauty and the ons one in.” macabre.” Horochowski is currently Horochowski is currently working to achieve working on a painting of Diana the Huntress, the hand-drawn quality of her coloring-book recreating the story in the Patagonia. style in large-scale stained glass works for an “I'm a journalist at heart, because my visual exhibit at the Minneapolis Institute of Arts in work is documentary. I am always gathering 2006. She envisions a triptych hanging in space, information to write a visual story. It is like writ- its elongated and distorted shadow painted on ing, but with images and memory, like collage the wall. but more seamless.”

28 The Old Future Meets the New Future 2003 lithograph 14” x 18”

29 Faye Passow

Wisconsin farm life may be an unlikely breeding ground for an artist. My mother, a native New Englander, thus an outsider, would skew my view of farm life forever. She, combined with my strict, oppressive paternal grandmother, contributed to my independent spirit, a distinct female viewpoint and a strong work ethic. As an artist, I skew reality with a little surreality serum, lest reality be taken too much for granted.

Early on, humor would be a relief valve for reality. Passow uses art as a way to cope with these Faye Passow. “It all started when I was an art stu- realities, bouncing between hyper-absurdism and dent in college. I drew a Victorian girl slouched in the highly personal. a chair, scowling, as Victorians often did. Next to Lithography is a complicated process that her I drew a glass of beer. I had dis- involves stone preparation, ink mix- covered that I could use humor and ing, chemical processing and a physi- art to address women’s suppression cal strength required in the actual and other issues in my life.” printing itself. However, it’s the sen- In Passow’s more recent litho- sual effects achieved by drawing on graphs, humor keeps an eye on dan- the stone that appeals most to Passow. ger. A brightly colored landscape, Its velvety blacks and rich, sensual Bad Luck Comes in Threes, narrates a tonal gradations can evoke a subtlety deadpan impossibility: a flat tire, an of mood or create a desired visual erupting volcano and a Western outlaw impinge effect in the work. upon an unassuming family’s peaceful road trip. “I spent most of my upbringing suppressing a In contrast, her smaller, black-and-white series fiercely individualistic and creative streak,” she evokes mysterious losses and haunting reflections says. “Fine art is the purest form of ‘nobody else on girlhood. With all of Passow’s work, the juxta- can tell me what to do.’ Still, my ‘inner’ farmer position of images belie a deeper, more disturbing won’t let me rest.”

30 Material World Temptations 2003 lithography with archival ink jet 22” x 30”

31 Jenny Schmid

My work borrows from medieval engravings and contemporary comics to create a highly gendered mini-drama. I am attracted to Old World print techniques that contrast the aura, beauty and authority of history with my contemporary subject matter.

”I’m attracted to the most Old World look I can satire and political subject matter. It was the orig- get. If the king is important, you make him real- inal comic, and it brought everything together ly big and his horse looks tiny. They weren’t inter- for me.” Her prints are dense and vibrant, figures ested in perspective; they lived a poetic life.” and faces pushed into a flat picture plane, the Jenny Schmid employs a medieval “crammed aesthetic” of the medieval aesthetic and technology—the mez- painters and engravers in whose work zotint—to create challenging con- she sees contemporary possibilities. temporary images. An intaglio Her lithographs incorporate digi- process, the mezzotint was “the hot tal technology to scan, collage and re- technology of the 1600s.” It involves work the images that inspire her, cre- hours working the surface of a cop- ating hybrids from the history of per plate and, though it produces a graphic art. Two new series will warm, velvety quality she prizes, expand on her work with iconic “there’s a good reason not many people are doing images of girls. Seven Sisters of Sleep draws on a it anymore.” Victorian female personification of narcotics and Schmid comes from a family of art lovers and The Liberated Boy will use gender-bending activists, influences visible in her attraction to imagery to rethink the male figure as the liberat- printmaking. “There’s a wonderful tradition of ed object of desire.

32 Three Stone Women Shields, ND—Fort Yates, ND—Fort Ransom, ND Three known “stone women” that represent the women who became stone in the story, The Woman Who Turned Herself to Stone

33 Mary Louise Defender Wilson

As a child, I was surrounded by the spellbinding storytellers of my immediate and extended family. Somewhere along life’s journey, they are all gone. A few of us are left trying to remember to tell the Ohunkakan na Wichooyake to all people so we will know our place as human beings. Understanding man’s relationship and dependence on nature came from the stories.

One of eleven storytellers invited to per- in the culture—the legend of Inyan Hokshi, the form at the 2004 opening of the Museum of the Essence of the Stone. By restoring this vanishing American Indian in Washington, D.C., Mary narrative, Defender Wilson hopes to spur a Louise Defender Wilson is among a small group renewal of the traditional ceremony for girls of tellers who carries the wisdom of making the transition to womanhood. native tradition to others. Born in a One of her favorite stories, The one-room house in North Dakota Woman Who Turned Herself to Stone, five miles from where she still lives, is represented in the native world by she absorbed the stories that her three known stones. Defender mother and grandparents told in the Wilson is the keeper of one, which Wicheyena dialect as they lived and she uses in storytelling programs. worked together. The stories of Unktomi, the Traditional stories give insight Spiderman, teach the consequences into the power, tribulations, benefits and respon- of the four qualities of man’s primitive nature. sibilities that surround life-altering phases. “In this world, we certainly need some informa- Defender Wilson seeks to gather elders to both tion about what it means to be a human being. share little-known stories and complete frag- You have to live like a human being. This state- mented ones. She is particularly interested in a ment in our language implies all the responsibil- story that was once important to young women ities of living carefully with nature.”

34 Chinese pipa player Gao Hong

35 Gao Hong

I use all my passion to promote the pipa and the Pudong style in my new land. Through music, I strive to connect people of all cultures in meaningful and enlightening ways.

The pipa, or Chinese lute, resonates with a high, hopes to record the indigenous music of Yunnan plaintive sound. In the hands of Gao Hong, it province, seeking to adapt for new compositions becomes many sounds. The left-hand note-bend- the folk melodies of the region, many of which ing technique of the Pudong style enables the have long been a source for pipa music. expression of deep emotions. “By While the opportunity to perform only looking at the score, it is impos- professionally at the age of 12 spared sible to tell how far to bend each her the countryside exile imposed note. You have to learn the intricacies during the Cultural Revolution, she of the style with the master.” Hong’s sees that early separation as the cost of teacher, Lin Shicheng, is at 84 the her life as a “flying dragon”—one only surviving master of the Pudong always on the move. Hong’s virtuosity style. Traveling to China, Hong will and dedication to an ancient music learn the repertoire, lost for years and have brought the soaring of the pipa recently reconstructed by her teacher. It has not to audiences around the world. yet been taught to others. “My deep heart, my passion, all my life is the Hong performs and teaches the traditional pipa pipa. I believe this beautiful music deserves to be repertoire while composing her own pieces. She heard by everyone in the world.”

36 detail of Kouvouklion (a Christ Tomb) 2003 basswood,Byzantine style dome size 16” x 20” 37 Douglas Trail-Johnson

Religious art attempts to parallel the transcendence of religious experience— awakening one to awe and mystery beyond the immediate. With my work I am putting my own mark on an Orthodox tradition that dates back centuries and will outlive me. I am honored to play a role in influencing and preserving this rich tradition.

”If you want to carve all day, every day, this is the Trail-Johnson’s life’s work began in high school only game in town.” Working with Honduras when, as a birthday present, his mother arranged mahogany, butternut and basswood, Douglas woodcarving lessons from Papadakis. He fell in Trail-Johnson designs, carves, builds and installs love with the tradition of his mentor. “Mainline furnishings in the Orthodox tradi- Protestant churches had totally thrown tion. One of a handful of master out ornament. It was all blond oak carvers in America, Trail-Johnson and maybe a cross. I’d walk into these studied for 22 years under Orthodox churches so rich in design Konstantinos Papadakis. and meaning. I couldn’t get enough.” Bishop’s thrones, iconostasis pan- Trail-Johnson will produce a body els, gospel and chanter stands are of sample work to help secure com- integral to Antiochian, Greek and missions, work that will further Russian Orthodox worship. The establish him as a master carver leafy, lacey designs Trail-Johnson achieves in despite his non-traditional roots. Eventually, he pieces as large as 40 by 20 feet require the use of hopes to take on an apprentice. more than 200 hand-carving gouges. While tradi- “We all live to find that space where you lose tion and the predominant Orthodox styles dictate yourself in the work, where it’s happening in spite much of the symbology, each artist’s original of yourself. Surfers call it ‘being in the green interpretation enlarges the tradition. room.’ I’m getting a chance to follow my heart.”

38 Artist Biographies

AMELIA BIEWALD 2000 1998 3755 Pillsbury Avenue Jerome Foundation Artist Fellowship Form Follows Fashion, No Name Minneapolis, MN 55409 Exhibitions/Soap Factory, 612-735-5600 Minneapolis College of Art and Minneapolis, MN [email protected] Design Graduate Student Merit Scholarship Born Minneapolis, MN DANNY BURACZESKI Selected Exhibitions 121 1/2 West Franklin Avenue Education 2004 Minneapolis, MN 55404 1999 Draw, Soo Visual Arts Center, 612-870-1987 M.F.A., Minneapolis College of Art Minneapolis, MN Cell 612-770-0137 and Design, Minneapolis, MN [email protected] 2003 1995 Mislycanthropy/The Big Teardown, Born 1948, Mount Carmel, PA B.F.A. with Honors, Rhode Island Rosalux Gallery, Minneapolis, MN School of Design, Providence, RI Education First Anniversary Exhibition, 1970 1993-1995 Rosalux Gallery, Minneapolis, MN B.A., Japanese studies, Bucknell Fine art and theory studies, University, Lewisburg, PA Goldsmith’s College, University of 2002 London Nip & Tuck, Rosalux Gallery, Selected Commissions Minneapolis, MN 2002 Selected Awards The American Dance Legacy 2004 2001 Institute at Brown University, Skowhegan School of Painting & Art In Space, Intermedia Arts, Providence, RI for Etude Sculpture, Artist Residency Minneapolis, MN Fellowship The Joyce Theater's Stephen and 2000 Cathy Weinroth Fund for New 2002 MCAD/Jerome Fellowship Work and The Flynn Center for the College of Visual Arts, Faculty Exhibition, MCAD Gallery, Performing Arts, Burlington, VT for Opportunity Grant Minneapolis, MN Beat, original score by Philip Hamilton 2001 W.A.R.M. Annual Juried Exhibition, Minnesota State Arts Board, Artist College of St. Catherine, 2000 Assistance Fellowship Saint Paul, MN Ballet Memphis, Memphis, TN for Jump For Joy Intermedia Arts, Art In Space 1999 Installation Grant M.F.A. Exhibition, No Name Exhibitions/Soap Factory, Minneapolis, MN

39 Artist Biographies

1999 LAURIE CARLOS Persimmon Peel, Walker Art Center, Bates Dance Festival, Walker Art 756 Dayton Avenue, #3 Minneapolis, MN, collaboration Center National Dance Touring Saint Paul, MN 55104 with Robbie McCauley Initiative for Ezekiel’s Wheel, original 651-291-5432 score by Philip Hamilton [email protected] Praise House, Hennepin Center for the Arts, Minneapolis, MN, Urban 1998 Born 1949, New York, NY Bush Women, performer Southern Methodist University, Dallas, TX for Cortege, created for Education 1987 the Algur H. Meadows Award for 1967 An Organdy Falsetto, BACA Excellence in the Arts given to Performing Arts High School, Downtown, Brooklyn, NY, writer, Wynton Marsalis, music by New York, NY performer and director Wynton Marsalis Performances Heat, The Kitchen, New York, NY, 1997 2003 Urban Bush Women, Thought The Library of Congress for Among Marion’s Terrible Time of Joy, The Music, writer and performer, These Cares, original score by Playwrights’ Center, Minneapolis, BESSIE Award Sir Roland Hanna MN, writer, choreographer and performer Teeny Town, Franklin Furnace, 1996 Brooklyn, NY, Thought Music, Boston Ballet, Boston, MA for 1999 writer and performer By The Horns Con Flama, Frontera@Hyde Park Theatre, Austin, TX, director 1980 Awards Boogie Woogie Landscape, Kennedy 2000 1995 Center for the Performing Arts, Artist of the Year, Star Tribune, Big White Fog, Guthrie Theater, Washington, DC, performer—Girl Minneapolis, MN Minneapolis, MN, performer— Grandmother 1979 1991 Spell #7, Public Theater, New York, Academy of Artistic Achievement, Feathers at the Flame, Tribeca NY, performer—Bar Maid Bucknell University, Lewisburg, PA Performing Arts Center, New York, NY, Movin’ Spirits Dance Theater, 1975-1978 Grants and Fellowships writer For Colored Girls, DeMonte’s Bar, 2003 Henry Street Settlement, Public McKnight Artist Fellowship for 1992 Theater, Booth Theatre, New York, Choreographers The Mojo and The Sayso, Penumbra NY, performer—Lady in Blue, Theatre, Saint Paul, MN, director OBIE Award 1997 to Present National Endowment for the Arts 1990 (Creation) White Chocolate for My Father, BACA Downtown, Brooklyn, NY, writer, performer and director, BESSIE Award

40 Artist Biographies

Publications Native American Music Awards for GARY GREFF 1997 Best Spoken Word, My Relatives Say P.O. Box 184 “The Cooking Show,” Out of Regent, ND 58650 Character: Rants, Raves and 2000 701-563-6400 Monologues by Today’s Top Native American Music Awards for Performance Artists, edited by Mark Best Spoken Word, The Elders Speak Born 1949, Dickinson, ND Russell, New York, NY: Bantam 1999 Education 1992 National Heritage Fellowship, 1980 “White Chocolate for My Father,” National Endowment for the Arts M.A., administration, Northern Moon Marked and Touched by Sun: State College, Aberdeen, SD Plays by African-American Women, 1998 edited by Sydne Mahone, New York, Speaker, NASA-U.S. Global Change 1973 NY: Theatre Communications Research Program; told Hidatsa B.S., elementary education, Group story Grandmother’s Boy, on the con- University of Mary, Bismarck, ND sequences of interfering with nature 1990 1971 “Teeny Town,” Out From Under: 1991 B.S., secondary education, Texts by Women Performance Artists, Bismarck Tribune Award for Dickinson State University, edited by Leonora Champagne, New Outstanding Contributions to Dickinson, ND York, NY: Theatre Communications Community Group Accomplishments 1990 Enchanted Highway, a series of large H. Councill Trenholm Memorial metal sculptures placed along a 32- MARY LOUISE DEFENDER Award for Human and Civil Rights mile stretch of highway between WILSON in Education, National Education Gladstone and Regent, ND P.O. Box 923 Association Shields, ND 58569 Fifteen years as an elementary and 701-422-3407 1989 junior high school educator North Dakota Centennial Born 1930, Sioux County, ND Commissioner—with other artists, designed logo for North Dakota GAO HONG Selected Accomplishments Native Americans Centennial, c/o World Music Professionals 2003 assisted in developing curriculum 1609 West County Road 42, #229 North Dakota Governor’s Award used in North Dakota schools Burnsville, MN 55306 for the Arts 507-646-4475 1985 & 1981 [email protected] 2002 Lead Dancer, International Sun www.chinesepipa.com National Women’s History Project, Dance, Green Grass, SD one of six women honored as Born 1964, Luoyang, P.R. China “Women Sustaining the American Spirit”

41 Artist Biographies

Education 1997 2002 1990 Artist Assistance Fellowship from the Vaqueras, Franklin Art Works, Graduated with honors, student of Minnesota State Arts Board Minneapolis, MN pipa master Lin Shicheng, Central Conservatory of Music, Beijing, P.R. Travel and Study Grant supported Selected Group Exhibitions China by the Dayton Hudson Foundation 2004 on behalf of Target Stores, Dayton’s Liste 04, The Young Art Fair in 1985 and Mervyn’s, the General Mills Basel, Switzerland Graduated with honors from six-year Foundation, and the Jerome program, Hebei Provincial School Foundation Art Chicago, Chicago, IL for the Arts, Hebei Province, P.R. China Composers Commissioning Award Your Heart Is No Match For My Love, from the Minnesota Composers No Name Exhibitions, Selected Awards Forum Minneapolis, MN 2004 Artist Initiative Grant from Asian-Pacific Award from the ARCO, International Art Fair, Minnesota State Arts Board Council on Asian-Pacific Madrid, Spain Minnesotans 2003 2002 Emerging Composer Commission Big and Beautiful, Artspace, from the Jerome Foundation ALEXA HOROCHOWSKI Kansas City, MO 477 Banfil Street 2002 Saint Paul, MN 55102 Artissima, Art Fair, Turin, Italy Commission from Walker Art 651-291-0106 Center [email protected] 5-Minutes Of Fame, Walker Art Center and mnartists.org, 2001, 1993 Born 1965, Columbia, MO Minneapolis, MN McKnight Artist Fellowship for raised in Comodoro Rivadavia, Performing Musicians Argentina Masquerade, John Michael Kohler Arts Center, Sheboygan, WI 2000 Education LIN (Leadership Initiatives in 1996 Selected Publications Neighborhoods) grant from M.F.A., photography, University of 2003 St. Paul Companies Michigan, Ann Arbor, MI New American Paintings, Volume 47, August Commission from Twin Cities Selected Solo Exhibitions Public Television for six-episode 2003 2002 series Made in China Drawings, Braga Menendez Schuster, Artist of the Year Honorable Buenos Aires, Argentina Mention, Star Tribune, Commission from Theater Mu for Minneapolis, MN Song of the Pipa, a theatrical produc- Winter Wonderland, Monique tion based on Gao Hong’s life story Meloche Gallery, Chicago, IL

42 Artist Biographies

Selected Grants and Fellowships 2000-2003 Solos, Duets and Trios, 2003 Walker Art Center and Southern The Playwrights’ Center, McKnight Fellowship, Minneapolis Theater for the Momentum Series, Minneapolis, MN College of Art and Design, Minneapolis, MN Minneapolis, MN Tours Three Legged Race, 2004 2001 Minneapolis, MN Catalyst performance and rehearsal Jerome Fellowship, Minneapolis tour, Kenai Peninsula, AK; Catalyst College of Art and Design, Catalyst, Selected Performances rehearsal tour, Washington Island, Minneapolis, MN 2000-2005 WI; Performance, rehearsal, teaching Give Me a Story, Tell Me You Love tour (VIZIT), St. Petersburg, Russia Me, SCUBA in Seattle, WA; San EMILY JOHNSON Francisco, CA; Minneapolis, MN 2003 Catalyst, dances by emily johnson Park Dance Project, Buena Vista P.O. Box 7338 Heat and Life, Soap Factory, Bryant Park, Alma, WI Minneapolis, MN 55407 Lake Bowl, Chicago Avenue, [email protected] Minneapolis, MN and Franconia 1999 Sculpture Park, Waconia, MN Fringe Festival of Independent Born 1976, Soldotna, AK Dance Artists (fFIDA), Toronto, One Night Only, Que’Ana Bar, Clam Canada Education Gulch, AK and Bunnell St. Gallery, 1994 Homer, AK Publications B.F.A., summa cum laude, 1998 University of Minnesota, 2003-2002 “Yup'ik Dance: Old and New,” The Minneapolis, MN Fierce: Whole, with Lateduster, Red Journal for the Anthropological Study Eye Theater, Flatland Gallery, of Human Movement, Vol. 9, No. 3. Selected Awards Minneapolis, MN and Carleton 2001-2003 College, Northfield, MN Jerome Foundation Artist Fellowship GÜLGÜN KAYIM 2001-2002 142 West 49th Street 2001 Plain Old Andrea, with a Gun/Undo, Minneapolis, MN 55419 Minnesota State Arts Board Artist Southern Theater as part of 612-825-5780 Fellowship Momentum Dance Series, [email protected] Minneapolis, MN Selected Commissions Born 1963, Famagusta, Cyprus 2004-2005 1999-2000 Walker Art Center, I Could Quit if I Wanted To, Education Minneapolis, MN Blizzard at Theater de la Jeune 1993 Leune, Minneapolis, MN M.F.A., theatre directing, University Macalester College, Saint Paul, MN of Minnesota

43 Artist Biographies

1992 Jerome Foundation, Building Born 1955, Brooklyn, NY M.A., theatre theory and practice, Administrative Capacity Grant University of Wisconsin-Madison Selected Awards 2001 2003 1987 Minnesota State Arts Board, McKnight Foundation, B.A., with honors, theatre and film, Artist Fellowship Interdisciplinary Fellowship University of Middlesex, London Selected Site Specific Performances 2002 1983 2003 Creative Capital, National Artist University of Kent at Canterbury, The Orange Grove, Thorpe Building, Fellowship England Minneapolis, MN 2000⁄2001 Non-academic Study 2000 Pew/TCG National Theater Center for Asian/Experimental The Car, three cars in downtown Residency Fellow Theatre, Madison, WI Minneapolis, MN Kallaripayattu (East Indian martial 1998 art) with master practitioner 1998 Minnesota State Arts Board, Phillip Zarilli Untitled #1, Drake Marble Factory, Theater Fellow Saint Paul, MN Grotowski theatre technique with 1997 practitioners Denis Maunder in Breakfast of Champions, Minneapolis McKnight Foundation, London, England and Ellen Farmers Market, Minneapolis, MN Interdisciplinary Fellowship Foreman at the Wilma Theatre, Philadelphia, PA 1997 1996 Urban Sirens, commercial store Travel and Study Grant supported Kantorian Theatre technique with front, Elliot Park, Minneapolis, MN by the Dayton Hudson Foundation Cricot 2 actor Ludmilla Ryba on behalf of Target Stores, Dayton’s, 1994 and Mervyn’s, the General Mills Selected Awards Frida Kahlo Restrospective, by Anne Foundation and the Jerome 2004 Basting, Frederick R. Weisman Art Foundation Minnesota State Arts Board, Museum, Minneapolis, MN Artist Assistance Grant 1993 McKnight Foundation, 2003, 2000, 1998 KARI MARGOLIS National Fellowship Jerome Foundation, Project Grant 2932 17th Avenue South Minneapolis, MN 55407 1992-1985 2002 612-250-5357 Six National Endowment for the Travel & Study Grant supported by [email protected] Arts, Theater Fellowships, 1992, the General Mills, HRK and Jerome www.margolisbrown.org 1991, 1990, 1989, 1987 and 1985 Foundations 1989 Dance Theater Workshop, BESSIE Award

44 Artist Biographies

Brooklyn Arts Council, Outstanding FAYE PASSOW 2003 Achievement in the Cultural Arts 4516 17th Avenue South Unprepared, lithographs by Faye Minneapolis, MN 55407 Passow and Jenny Schmid, 1987 612-724-5887 Minnesota Artist’s Exhibition New York Foundation for the Arts [email protected] Program, Minneapolis Institute of Performance Fellowship Arts, Minneapolis, MN Born 1954, Arcadia, WI Selected Performances Minnesota State Fair Exhibition, Since 1984, created and produced Education Saint Paul, MN 14 evening-length productions that 1979 Also exhibited in 2002, 2001, 1999, have toured nationally and to Berlin, M.A., lithography, University of 1997, 1996, 1995, 1993, 1992, London, Singapore and throughout New Mexico, Albuquerque, NM 1988, 1986, 1985 and 1984 Canada and Mexico 1976 2001 2004 B.F.A., printmaking, University of Minnesota Art with a Twist, Frederick The Human Show, The John F. Wisconsin, Eau Claire, WI R. Weisman Art Museum, Kennedy Center for the Performing Minneapolis, MN Arts, Washington, DC Awards 2002 Contemporary Art on Paper 1990- 2003 Minnesota State Arts Board 2000, Minneapolis Institute of Arts, American Safari, Illusion Theater, Fellowship Minneapolis, MN Minneapolis, MN Printmaking Residency, Plains Art The Third Minnesota National Print 2002 Museum, Hannaher’s Inc. Print Biennial, Frederick R. Weisman Art Sleepwalkers, The O'Shaughnessy, Studio, Fargo, ND Museum, Minneapolis, MN Saint Paul, MN 1986 2000 Selected Publications WARM/Landmark Print Project, a Minnesota Printmakers Exhibition, 2003 grant to produce two limited edition Mid America Print Council, Movement for Actors, edited by lithographs at Landmark Graphics, St. Cloud State University, Nicole Potter, New York, NY: Minneapolis, MN St. Cloud, MN Allworth Press Exhibitions Minnesota Bleak: Nature or Nurture, Selected Collections 2004 Life in the True North, College of Lincoln Center Library, Minnesota National Print Biennial, Visual Arts Gallery, Saint Paul, MN New York, NY Katherine Nash Gallery, University of Minnesota, Minneapolis, MN

45 Artist Biographies

Publications Selected Solo Exhibitions 2002 Image in Minnesota Days: Our 2005 Hysterical: Women Printmakers with Heritage in Stories, Art and Photo, Davidson Galleries, Seattle, WA Humor, The Davidson Galleries, Michael Dregni, Stillwater, MN: Seattle, WA Voyageur Press 2003 Lost and Found Girls, Slugfest, Imitations, Detroit Artists Market, Collections Austin, TX Detroit, MI, University of Michigan Minneapolis College of Art and Slusser Gallery, Ann Arbor, MI and Design, Minneapolis, MN Girth Marrow, Shoebox Gallery, Soo Visual Arts Center, Minneapolis Institute of Arts, Minneapolis, MN Minneapolis, MN Minneapolis, MN Minnesota Museum of American 2002 Collections Art, Saint Paul, MN The Downfall of Young Girls, At Minneapolis Institute of Arts, Princeton Rare Book Collection, Home Gallery, Samorin, Slovakia Minneapolis, MN Princeton University, Princeton, NJ The Detroit Institute of Arts, Plains Art Museum, Fargo, ND 2001 Detriot, MI University of Wisconsin, Sports Mezzotinted, The Davidson The Museum of Royal Arts, Eau Claire, WI Galleries, Seattle, WA Antwerp, Belgium University of Wisconsin, City of Seattle Arts Commission, Stevens Point, WI Selected Group Exhibitions Seattle, WA 2004 New Trends in Graphic Arts, Selected Grants JENNY SCHMID The Detroit Institute of Arts, 2003 3240 Elliot Avenue South Detroit, MI McKnight Foundation Grant Minneapolis, MN 55407 612-825-2185 Outlaw Printmakers, Big Cat Gallery, 2002 [email protected] New York, NY Minnesota State Arts Board Career www. jenski.com Opportunity Grant 2003 Born 1969, Seattle, WA Unprepared, Lithographs by Faye 1999 Passow and Jenny Schmid, Michigan Council for the Arts Education Minnesota Artist’s Exhibition Creative Artists Grant 1996 Program, Minneapolis Institute of M.F.A., printmaking, University of Arts, Minneapolis, MN 1997 Michigan, Ann Arbor, MI Fulbright Fellowship to Slovakia in Girls with Guns, Kellie Rae Theiss printmaking 1991 Gallery, Minneapolis, MN B.A., with honors, political science, Macalester College, Saint Paul, MN Monster Under the Bed, Workspace, Inc. Gallery, Honolulu, HI

46 Artist Biographies

DANIAL SHAPIRO 1989 1995 Barbara Barker Dance Center National Corporate Fund for Dance, Fathers and Sons, performed by Alvin 500 21st Avenue South American Choreographer Award Ailey American Dance Theater, Minneapolis, MN 55455 premiered at City Center Theater, 612-626-7265 Paul Taylor Choreographic New York, NY [email protected] Fellowship, The Yard, Martha’s Vineyard, MA Born 1958, New York, NY AMY TOSCANI Selected Performances 2739 Lincoln Street NE Selected Awards 2004 Minneapolis, MN 55418 2002 ANYTOWN, performed by Shapiro 612-788-0887 Best Choreographer, “2002 Best of & Smith Dance, previewed at the the Twin Cities,” City Pages Southern Theater, Minneapolis, MN Born 1963, Dayton, OH (2005 premiere, Count Basie 2000 Theater, Red Bank, NJ, additional Education McKnight Choreographer’s 2005 performances scheduled 1988 Fellowship, at over 20 venues) M.F.A., sculpture, Ohio University, Minnesota Dance Alliance Athens, OH 2000 1998 The Act, performed by Dayton 1986 Minnesota State Arts Board, Contemporary Dance Company, B.F.A., studio arts, Ohio University, Choreographer’s Fellowship premiered at the Capitol Theater, Athens, OH Dayton, OH 1996 Grants and Awards National Endowment for the Arts, 1999 2004 Choreographer’s Fellowship Notes From A Séance, performed by Sculpture Space Residency, Shapiro & Smith Dance, premiered Utica, NY 1992, 1988 at The Joyce Theater, New York, NY New York Foundation for the Arts, 2001 Choreographer’s Fellowship Shtick, performed by Shapiro & McKnight Foundation Fellowship Smith Dance, premiered at The 1991 Joyce Theater, New York, NY Minnesota State Artist Assistance Metropolitan Life Foundation Fellowship Emerging Dance Program 1998 Babel, performed by Shapiro & 2000 1990 Smith Dance and Ilkhom Theater, Artist-in-Residence, Kohler Dance Magazine Foundation premiered at RuhrFestSpiele, Company, Kohler, WI William Como Memorial Award Recklinghausen, Germany 1997 1997 MCAD/Jerome Foundation piano, performed by Shapiro & Fellowship Smith Dance, premiered at The Joyce Theater, New York, NY

47 Artist Biographies

Exhibitions DOUGLAS TRAIL-JOHNSON Selected Commissions 2002 1054 St. Clair Avenue 2004 One-person show, St. Olaf College, Saint Paul, MN 55105 Icon Stand – Byzantine Style, Saint Northfield, MN 651-228-1332 George Greek Orthodox Church, [email protected] Saint Paul, MN McKnight Fellowship Exhibition, www.tjwoodcarving.com Minneapolis College of Art and 2003 Design, Minneapolis, MN Born 1962, Great Lakes, IL Kavouklion (a Christ tomb)— Byzantine Style 2001 Education One-person show, St. Cloud State 1985 2002 University, St. Cloud, MN B.A., history, Bethel College, Relic Box, parishioner of Basilica of Saint Paul, MN Saint Mary, Minneapolis, MN Gateway Sculpture Park, Minneapolis, MN Student, apprentice and journeyman 2001 under master woodcarver, Iconostasis Communion Panel— 2000 Konstantinos Papadakis over a 22- Kritikos Eptanisiako Style Assembly Required, Hyde Park Art year period culminating in 2001. Center, Chicago, IL Learned the three major styles of 2001 woodcarving used in Orthodox Money Box, House of Mercy, 1999 churches (Byzantine, Kritikos Saint Paul, MN UltraNormal, Minneapolis, MN Eptanisiako and Greek Folk Art). 2001 Padberg/Toscani, Minneapolis Presentations and Exhibitions Iconostasis—as a journeyman— Institute of Arts, Minneapolis, MN 2004 Kritikos Eptanisiako Style, Holy Fairmount Avenue Methodist Transfiguration Antiochian 1998 Church, Saint Paul, MN Orthodox Church, Warrenville, IL Jerome Fellowship Exhibition, Minneapolis College of Art and 2003 2000 Design, Minneapolis, MN Antiochian Orthodox Clergy Laity Memorial, First Baptist Church, National Conference, Miami, FL Saint Paul, MN Franconia Sculpture Park, Shafer, MN 2002 Bethel College, Saint Paul, MN Public Art 2003 2001 Permanent outdoor sculpture com- Grace United Methodist Church, missioned by Lowertown Artway Naperville, IL Project, Saint Paul, MN

48 Bush Artist Fellows 1976-2003

CHOREOGRAPHY/MULTIMEDIA/ FILM/VIDEO PERFORMANCE ART-STORYTELLING Ainsworth, Shelli, Minneapolis, MN, 2001 Aiken, Chris, Minneapolis, MN, 1998 Bundy, Peter, Northfield, MN, 1980 Anderson, M. Cochise, Minneapolis, MN, 2002 Byrne, James R., Wayzata, MN, 1980 Arneson, Heidi, Minneapolis, MN, 1996 Davitch, Liza, Minnetonka, MN, 2003 Branner, Djola, Minneapolis, MN, 2000 DeMichiel, Helen, Minneapolis, MN, 1989 Brown, Tony, Minneapolis, MN, 2000 Feingold, Ken, Minneapolis, MN, 1985 Celender, Donald D., Saint Paul, MN, 1979 Frey, Sayer, Minneapolis, MN, 1999 Chatterjea, Ananya, Minneapolis, MN, 2002 Jacoby, Roger S., Minneapolis, MN, 1981 Clement, Ceil Anne, Hettinger, ND, 2002 Kimm, Barry, Minneapolis, MN, 1994 Cheng, Maria, Minneapolis, MN, 1985 Klosky, Linda R., Minneapolis, MN, 1978 Chvala, Joe, Minneapolis, MN, 1994 Laughlin, Kathleen, Minneapolis, MN, 1992 di Palma, Susana, Minneapolis, MN, 1990 Lion, Jenny, Saint Paul, MN, 2003 Easter, Mary, Northfield, MN, 1986 Matheson, Steven, Saint Paul, MN, 2001 Grandell, Steven, Minneapolis, MN, 1996 Mueller, Eric West, Richfield, MN, 1991 Lawrence, Robert, Minneapolis, MN, 1994 Penman, Sarah, Minneapolis, MN, 1997 Locke, Kevin, Wakpala, SD, 1988 Pitt, Suzan, Fountain City, WI, 1992 Lukkas, Lynn T., Minneapolis, MN, 1996 Robeson, Susan, Minneapolis, MN, 1994 Mann, Paula, Minneapolis, MN, 1990 Ryan, David, Northfield, MN, 2003 McConneloug, Shawn, Minneapolis, MN, 1998 Schroeder, Tom, Minneapolis, MN, 1997 McGuire, Judy, Minneapolis, MN, 1990 Schwartz, Robert A., Minneapolis, MN, 1982 Morris, Wendy, Minneapolis, MN, 1988 Seals, David, near Bear Butte, SD, 1990 Ramaswamy, Aparna, Minneapolis, MN, 2002 Simonett, Bill, Minnetonka, MN, 1990 Ramaswamy, Ranee, Burnsville, MN, 1996 Spotted Eagle, Chris, Minneapolis, MN, 1992 Scully, Patrick, Minneapolis, MN, 1992 Sullivan, Chris, Minneapolis, MN, 1987 Sewell, James, Minneapolis, MN, 2002 Tang, Mark Kwok-Wah, Minneapolis, MN, 1997 Shapiro, Linda J., Minneapolis, MN, 1984 Weise, Richard W., Minneapolis, MN, 1978 Smith, Joanie, Minneapolis, MN, 2000 Williams, Garret, Minneapolis, MN, 1994, 2001 Sommers, Michael, Minneapolis, MN, 1990, 1998 Stephens, Georgia, Minneapolis, MN, 1986 LITERATURE Stiehm, Robin, Sandstone, MN, 2000 Thorson, Morgan, Minneapolis, MN, 2000 Adedjouma, Davida, Saint Paul, MN, 1988 Van Loon, Kristin, Minneapolis, MN, 2002 Alden, Paulette Bates, Minneapolis, MN, 1982 Van Wieren, Laurie S., Minneapolis, MN, 1985 Becknell, John M., Minnetonka, MN, 1993 Wilder, Arwen, Minneapolis, MN, 2002 Benitez, Sandra, Edina, MN, 1999 Young, Marcus, Minneapolis, MN, 2000 Bly, Carol, Madison, MN, 1980 Zoltners, Mara, Minneapolis, MN, 1998 Bly, Robert, Moose Lake, MN, 1978, 1985

49 Bush Artist Fellows 1976-2003

Borich, Barrie Jean, Minneapolis, MN, 1997 Howerton, Walter H., Saint Paul, MN, 1985 Brady, Timothy, Saint Paul, MN, 1987 Hribal, C. J., Minneapolis, MN, 1987 Brannen, Jonathan, Saint Paul, MN, 2001 Jacobson, Jean Alice, Duluth, MN, 1989 Breckenridge, Jill, Saint Paul, MN, 1980 James, Stewart, Stillwater, MN, 1993 Browne, Michael Dennis, Benedict, MN, 1981 Jenkins, Louis B., Duluth, MN, 1979, 1984 Burns, Alan, Minneapolis, MN, 1984 Katz, Judith, Minneapolis, MN, 1991 Caddy, John, Minneapolis, MN, 1989 Kearney, Robert P., Minneapolis, MN, 1980 Cardona-Hine, Alvaro, Saint Paul, MN, 1978 Keenan, Deborah, Saint Paul, MN, 1986, 1995 Carter, Emily, Minneapolis, MN, 1994 Kelby, N. M., Saint Paul, MN, 1999 Chamberlain, Marisha A., Saint Paul, MN, 1981 Kirkpatrick, Patricia, Saint Paul, MN, 1990 Cole, Richard D., Minneapolis, MN, 1981 Krueger, Kent, Saint Paul, MN, 1988 Coskran, Kathleen, Minneapolis, MN, 1988 Kusz, Natalie, Saint Paul, MN, 1994 Cutler, Bruce, Saint Paul, MN, 1990 LaChapelle, Mary, Minneapolis, MN, 1987 Dacey, Philip, Cottonwood, MN, 1977 Laidlaw, Brett, Minneapolis, MN, 1990 Daum, Ann, Okaton, SD, 1999 LeSueur, Meridel, Saint Paul, MN, 1985 Day, Cathy, Mankato, MN, 1999 Lloyd, Roseann, Saint Paul, MN, 1999 Delattre, Pierre H., Stillwater, MN, 1985 Louis, Adrian, Minneota, MN, 1990, 2001 Dwyer, David, Lemmon, SD, 1991 Maiolo, Joseph, Duluth, MN, 1999 Engman, John, Minneapolis, MN, 1987 Maitland, Margaret Todd, Saint Paul, MN, 1989, 1999 Evans, David Allan, Brookings, SD, 1990 Martini, Galen, Saint Joseph, MN, 1977 Fox, Sarah, Minneapolis, MN, 2001 McColley, Kevin, Pinewood, MN, 2001 Francisco, Patricia Weaver, Minneapolis, MN, McGrath, Thomas M., Moorhead, MN, 1976, 1981 1985, 1995 Meek, Jay, Grand Forks, ND, 1989 Garland, Max, Eau Claire, WI, 1999 Mickelson, Monty, Bloomington, MN, 1989 Gibbon, Maureen, Plymouth, MN, 2001 Miles, Margaret, Minneapolis, MN, 1991 Goldberg, Natalie R., Minneapolis, MN, 1982 Millman, Lawrence B., Minneapolis, MN, 1979 Green, Kate, Saint Paul, MN, 1983, 1992 Minczeski, John M., Saint Paul, MN, 1982 Greenberg, Alvin D., Saint Paul, MN, 1976, 1980 Moore, James M., Saint Paul, MN, 1976, 1982 Hampl, Patricia, Saint Paul, MN, 1979, 1987 Moua, Mai Neng, Saint Paul, MN, 2003 Hanson, Phebe D., Saint Paul, MN, 1985 Mura, David, Saint Paul, MN, 1981, 1988 Harrison, Keith E., Northfield, MN, 1978 Norris, Kathleen, Lemmon, SD, 1993 Hedin, Robert, Frontenac, MN, 1997 O'Brien, Dan, Whitewood, SD, 2001 Heideman, Kathleen, Minneapolis, MN, 1999 O'Connor, Sheila, Minneapolis, MN, 2001 Herrmann, Marianne, Saint Louis Park, MN, 1992 O'Reilley, Mary Rose, Saint Paul, MN, 1995 Hildebrand, John, Eau Claire, WI, 1994 Oeur, U Sam, Eagan, MN, 1997 Holm, Bill, Minneota, MN, 1982, 1995 Pejsa, Jane, Minneapolis, MN, 1986 Holmes, Janet A., Saint Paul, MN, 1993 Rockcastle, Mary F., Minneapolis, MN, 1983

50 Bush Artist Fellows 1976-2003

Roripaugh, Lee Ann, Vermillion, SD, 2003 Gatto, Anthony, Minneapolis, MN, 2001 Rossini, Clare, Northfield, MN, 1997 Gwiazda, Henry, Fargo, ND, 1997 Rylander, Edith, Grey Eagle, MN, 1980, 1991 Hill, Edie, Minneapolis, MN, 1999 Smith, Gregory Blake, Northfield, MN, 1989 Hovda, Eleanor, Saint Paul, MN, 1984, 1993 Solly, Richard, Saint Paul, MN, 1995 Johnson, Tellef, Brookings, SD, 2003 Sprengnether, Madelon S., Minneapolis, MN, 1982 Kilstofte, Anne, Bloomington, MN, 1997 Sutter, Barton, Duluth, MN, 1989 Kinney, Michelle, Golden Valley, MN, 2003 Swanson, Susan Marie, Saint Paul, MN, 1984 Kosch, Michael, Minneapolis, MN, 1988 Taylor, Bruce, Eau Claire, WI, 1993 Lambrecht, Homer G., Lauderdale, MN, 1987 Tracy, Colleen J., Kasota, MN, 1985 Larsen, Libby, Minneapolis, MN, 1989 Treuer, David, Minneapolis, MN, 2003 Lease, Ellen, Minneapolis, MN, 1991 Vajda, Deborah L., Saint Paul, MN, 1999 Long, Larry, Minneapolis, MN, 1995 Vang, Ka, Saint Paul, MN, 2003 Maguire, Charlie, Minneapolis, MN, 1985 Vogelweide, Bertrand, Richardton, ND, 2001 Means, David, Minneapolis, MN, 1988 Wang, Ping, Saint Paul, MN, 2003 Olsen, David John, Saint Paul, MN, 1986 Waterman, Cary A., Mankato, MN, 1977, 1983 Ostroushko, Peter, Minneapolis, MN, 2001 Waterman, Charles K., LeCenter, MN, 1980 Paske, Richard C., Saint Paul, MN, 1984 Weaver, Will, Bemidji, MN, 1987 Rhodes, Phillip C., Northfield, MN, 1984 Welch, Susan, Minneapolis, MN, 1982 Schoenfield, Paul, Saint Paul, MN, 1987 Wheeler, Kristi Duckwall, Saint Paul, MN, 1983 Simenson, William, Saint Paul, MN, 1999 Whipple, Barbara E., Plainview, MN, 1979 Steele, J. D., Minneapolis, MN, 2003 White, James L., Minneapolis, MN, 1978 Stokes, Eric, Minneapolis, MN, 1985, 1993 White, J. P., Minneapolis, MN, 1986 Sturm, Daniel K., Saint Paul, MN, 1991 Williams, Marie Sheppard, Minneapolis, MN, 1995 Thomas, Carei F., Minneapolis, MN, 1993 Wilson, Edward W., Bloomington, MN, 1984 Vandervelde, Janika, Saint Paul, MN, 1986, 1997 Yuzna, Susan, Albert Lea, MN, 1995 Zhang, Ying, Minneapolis, MN, 1997 Zontelli, Patricia, Menomonie, WI, 1994 SCRIPTWORKS MUSIC COMPOSITION Blessing, Lee, Minneapolis, MN, 1986 Blackburn, Philip, Saint Paul, MN, 2003 Boesing, Martha, Minneapolis, MN, 1983 Bombardier, Bradley A., Duluth, MN, 1988 Cinque, Chris, Minneapolis, MN, 1993 Brooks, Jeffrey E., Minneapolis, MN, 1989 Delaney, Vincent, Saint Paul, MN, 2003 Callahan, James P., Saint Paul, MN, 1984 Donnan, Kristin, Hill City, SD, 1997 Childs, Mary Ellen, Minneapolis, MN, 1989, 1999 Field, Barbara, Minneapolis, MN, 1988 Davids, Brent Michael, Minneapolis, MN, 2001 Fuss, Adelaide MacKenzie, Black Hawk, SD, 2003 Ewart, Douglas, Minneapolis, MN, 1997 Golfus, Billy, Minneapolis, MN, 1995

51 Bush Artist Fellows 1976-2003

Hancock, W. David, Saint Peter, MN, 2001 Cypis, Dorit, Minneapolis, MN, 1993 Hines, Kim, Minneapolis, MN, 1997 Dahl, Stephen M., Minneapolis, MN, 1990 Klein, Jon, Minneapolis, MN, 1987 Damon, Betsy, Saint Paul, MN, 1996 Kling, Kevin, Minneapolis, MN, 1988, 2003 Davidson, Stacey, Saint Paul, MN, 2000 Kreilkamp, Ben, Minneapolis, MN, 1991 Day, Julia Anne, Vermillion, SD, 1998 McClinton, Marion, Saint Paul, MN, 1993 Dell, Irve, Minneapolis, MN, 1988 Obolensky, Kira, Minneapolis, MN, 1999 Dennehy, Dan, Minneapolis, MN, 1991 Olive, John, Minneapolis, MN, 1988, 1997 Dick, David, Minneapolis, MN, 1993 Tretbar, Eric, Minneapolis, MN, 1991 Drewes, Jennifer (Link), Minneapolis, MN, 1980 Williams, Jeffrey Scott, Minneapolis, MN, 1995 Edwards, JonMarc, Minneapolis, MN, 1989 Wilson, August, Saint Paul, MN, 1983 Esch, Mary, Saint Paul, MN, 1998 Faust, Christopher, Saint Paul, MN, 1995 Fiene, Susan, Minneapolis, MN, 1978, 1992 VISUAL ARTS Fischer, Robert, Minneapolis, MN, 1998 Accola, Hans, Minneapolis, MN, 1994 Fisher, Carole G., Minneapolis, MN, 1976, 1984 Aiken, Joe, Saint Cloud, MN, 1978 Gaard, Frank L., Minneapolis, MN, 1984 Aiken, Ta-coumba, Saint Paul, MN, 1992 Gaiter, Colette, Saint Paul, MN, 1996 Akagawa, Kinji A., Saint Paul, MN, 1981 Gammell, Linda K., Minneapolis, MN, 1984 Amiotte, Arthur, Custer, SD, 2002 Garten, Cliff, Saint Paul, MN, 1994 Andersen, Norman A., Minneapolis, MN, 1987, 2000 Geesaman, Lynn, Minneapolis, MN, 1991 Argue, Doug, Minneapolis, MN, 1988 Gohlke, Frank W., Minneapolis, MN, 1979 Bart, Harriet, Minneapolis, MN, 2000 Goldes, David, Minneapolis, MN, 1981, 1993 Beyer, Steven J., Saint Paul, MN, 1982 Gorcica, William, St. Cloud, MN, 2000 Big Bear, Frank, Minneapolis, MN, 1986, 1998 Green, Gregory, Saint Paul, MN, 1990 Blaw, Laura A., Saint Paul, MN, 1983 Green, Rafala, Saint Paul, MN, 1995 Bloch, Ricardo, Saint Paul, MN, 1995 Greene, Lori, Mahtomedi, MN, 1994 Bogren Swift, Vernal, Bovey, MN, 1998 Hallman, Gary, Minneapolis, MN, 1976 Bowker, Sarah, Menomonie, WI, 1992 Hawkins, Christie, Kasota, MN, 1991 Breidel, Joseph M., Minneapolis, MN, 1977 Hemingway Jones, Kathy, Minneapolis, MN, 1986 Brewer, Richard T., Minneapolis, MN, 1989 Henkel, James, Minneapolis, MN, 1992 Brush, Gloria DeFilipps, Duluth, MN, 1983 Huie, Wing Young, Minneapolis, MN, 1996 Brush, Leif, Duluth, MN, 1979 Jankofsky, Kay Kurt, Duluth, MN, 1981 Campopiano, Remo, Minneapolis, MN, 1986 Johnson, Catherine L., Wayzata, MN, 1994 Carr, Judale, Worthington, MN, 2000 Johnston, Randy J., River Falls, WI, 1998 Carroll, Mary, Minneapolis, MN, 1998 Jones, Seitu, Saint Paul, MN, 1992 Chanthraphone, Bounxou, Brooklyn Park, MN, 2002 Kaniess, Daniel, Saint Paul, MN, 1994 Charlesworth, Bruce, Minneapolis, MN, Kaplow, Shana, Saint Paul, MN, 1989 1981, 1989, 2000 Kareken, Michael, Minneapolis, MN, 2000

52 Bush Artist Fellows 1976-2003

Kielkopf, Jacqueline K., Saint Paul, MN, 1985 Onofrio, Judy, Rochester, MN, 1998 Kiland, Lance E., Minneapolis, MN, 1984 Pickett, Keri, Minneapolis, MN, 1992 Kittelson, Vesna, Minneapolis, MN, 1990 Price, Melba, Saint Paul, MN, 1994, 2002 Klipper, Stuart D., Minneapolis, MN, 1980, 1995 Rathbun, Mike, Minneapolis, MN, 1998 Larson, Chris, Saint Paul, MN, 1998 Rathman, David, Minneapolis, MN, 1992 Lauterbach, Michael, Minneapolis, MN, 1996 Rose, Thomas A., Minneapolis, MN, 1979 Lefkowitz, David, Saint Paul, MN, 2002 Schlesinger, John A., Minneapolis, MN, 1984 Leicester, Andrew, Minneapolis, MN, 1977, 1983, 1990 Schwartz, Rosalyn D., Minneapolis, MN, 1987 Leo, Vince, Minneapolis, MN, 1991 Shambroom, Paul, Saint Paul, MN, 1992, 2002 Levine, Edward, Minneapolis, MN, 1982 Snyder, John, Minneapolis, MN, 1986 Lindner, Davora, Minneapolis, MN, 2002 Solien, T. L., Pelican Rapids, MN, 1981, 1990 Lois-Borzi, Ana, Golden Valley, MN, 2000 Sorman, Steven R., Minneapolis, MN, 1979 Lume, Charles Matson, Stillwater, MN, 2002 Spieler, Sandra, Minneapolis, MN, 1986 Lynch, Harry M. (Mike), Minneapolis, MN, 1985 Sveda-Uncapher, Susan, Eau Claire, WI, 1996 Madzo, David, Saint Paul, MN, 1987 Swiszcz, Carolyn, West Saint Paul, MN, 2002 Marcheschi, Louis R. (Cork), Minneapolis, MN, 1977 Thao, Cy, Saint Paul, MN, 2000 Massey, Rod, Minneapolis, MN, 1986 Tittle, Jim, Minneapolis, MN, 1988 McGibbon, Bridget, Keystone, SD, 1996 Torbert, Stephanie B., Minneapolis, MN, 1976 Mead, Stuart, Saint Paul, MN, 1993 Turczan, Katherine, Minneapolis, MN, 1995 Millikan, Jeff, Minneapolis, MN, 2002 Verburg, JoAnn, Saint Paul, MN, 1983, 1993 Mojsilov, Zoran, Minneapolis, MN, 1996 Visscher, Jantje, Minneapolis, MN, 1984 Morgan, Clarence, Minneapolis, MN, 1998 Walker, Mary K., Minneapolis, MN, 1980 Moroni, Aldo L., Jr., Avon, MN, 1991 Whiteman, Ernest, Saint Paul, MN, 1992 Nielsen, Stuart A., Minneapolis, MN, 1977 Wirth, Karen M., Saint Paul, MN, 1991 Ogle, Philip B., Saint Paul, MN, 1978 Wood, Ann, Saint Paul, MN, 1996 Olson, Wendy M., Minneapolis, MN, 1985 Woodward, Steven, Saint Paul, MN, 1986

53 PROGRAM OFFICER The Bush Foundation is a private, Bush Artist Fellows Program Nancy Fushan grantmaking foundation with charita- 332 Minnesota Street, Suite East 900 ble purposes. Archibald Granville Bush, Saint Paul, Minnesota 55101 sales and general manager of the 3M BUSH ARTIST FELLOWS Company, and his wife, Edyth, created 651-227-0891 PROGRAM DIRECTOR the Bush Foundation in 1953. The 800-605-7315 Foundation makes grants to organiza- www.bushfoundation.org Julie Gordon Dalgleish tions in the areas of education, human- ities and the arts, human services, and Printed on recycled paper. PROGRAM ASSISTANT ecological health, primarily in Copyright 2005 Minnesota, North Dakota, and South Kathi Polley Dakota, and supports historically Black private colleges and universities and ARTIST PROFILES fully accredited tribally controlled col- Patricia Weaver Francisco leges throughout the United States. It also offers three fellowship programs DESIGN/PRODUCTION for individuals. Nancy H. Teufert, River West Design Hall Kelley

PHOTO CREDITS Portraits by Wing Young Huie

54 Work Samples on CD

Audio tracks Gülgün Kayim Breakfast of Champions 1. Mary Louise Defender Wilson Performed by Rebecca Yoho, Charles Campbell, Earth Beans from “My Relatives Say” Paul De Cordova, Eve Overland and © 2001 Makoché Word/North Dakota Christopher Tibbits Council on the Arts (1998) 2:00 Courtesy of Makoché/NDCA 4:57 Gülgün Kayim and Erik Belgum The Car 2. Mary Louise Defender Wilson Performed by Rebecca Yoho, Charles Campbell, and Bryan Akipa Paul De Cordova, Glen Jardec and The First Flute Was Used For Courting from Juliette Danucci “My Relatives Say” (1998) 3:49 © 2001 Makoché Word/North Dakota Council on the Arts Gülgün Kayim Courtesy of Makoché/NDCA Untitled #1 4:57 Performed by Rebecca Yoho, Charles Campbell, Nathan Christopher, Johnathan Peterson, 3. Gao Hong Blayn Lemke, Camilla Little, Paul Mackovak, Flying Dragon John Troyer and Alison Moore (2000) 6:30 (1998) 3:53 “QuickTime” Movies Kari Margolis Viewing this material requires a computer with Sleepwalkers (2003), American Safari (2001) and “QuickTime” software Vidpires (1998) Performed by Margolis Brown Theater Daniel Buraczeski Company ensemble members Ezekiel’s Wheel 9:47 music by Philip Hamilton Performed by Jennifer Wolverton, Joanne Danial Shapiro Horn Spencer, Judith E. James, Maria Slutiak, ANYTOWN –Born In The USA Dana Holstad, Mariusz Olszewski, music by Bruce Springsteen Les Johnson and John Beasant Performed by Shapiro & Smith Dance (1999) 10:49 (2004) 3:16 Laurie Carlos Danial Shapiro Marion’s Terrible Time of Joy ANYTOWN –City Boys Performed by Laurie Carlos and music by Patti Scialfa Ananya Chatterjea Performed by Jamie Ryan with (2003) 8:05 Carl Flink and Eddie Oroyan (2004) 2:51 Emily Johnson Give me a story, Tell me you love me Danial Shapiro music by Lateduster ANYTOWN –Little Girl Performed by Emily Johnson and music by Soozie Tyrell Andrea Zimmerman Performed by Kelly Drummond Cawthon, (2003) 14:05 Maggie Bergeron and Joanie Smith with Shapiro & Smith Dance (2004) 3:30

For promotional use only. Not for resale or broadcast. Copyright 2005 Bush Artist Fellows Program, Bush Foundation, Saint Paul, Minnesota Bush Artist Fellows Program 332 Minnesota Street, Suite East 900 Saint. Paul, Minnesota 55101