Although the introduction is in Chinese, the descriptions of the color plates are in Chinese and English.  North Dakota Museum of Art, Grand Forks, ND, "Frontiers in Fiber: The Americans," Summer 1989.  A traveling exhibit in Asia for two years sponsored by the United States Information Agency and The China International Arts Exhibition Agency.  Draws attention to textile and fiber art.  A beautiful catalog with color plates and descriptive information of what was being shown at the exhibition.

Frontiers in fiber: The Americans

Mildred Constantine

Laurel Reuter

North Dakota Museum of Art

Peter Dean

Ratcliff

Judyland: The Art of Judy Onofrio

Reuter, Laurel

Arts & Photography

Georgie Papageorge

In Quest of the Spirit: The Painting of Jerome Tupa. Excellent condition.

In Quest of the Spirit; The Painting of Jerome Tupa, O.S.B.

40 color illustrations, 6 b&w illustrations

Will Maclean: Cardinal points

MacLean, Will

To describe and occurrence or an event as "unique" has become commonplace. so frequenty do writers rely upon the word, few readers even questions its use. Yet in reflecting on the Red River of the North, the flood that overspread its valley in the spring of 1997 and the human response that followed, no other word comes to mind. This north-flowing river stands unique among the world's as does the valley, and the flood. Uncommon heroes is offered as a tribure to the men and women who fought the most courageous battles: The deluge which struck the cities of Grand Forks, North Dakota and East Grand Forks, Minnesota On April 18-19, 1997 after weeks of sasnbagging and reinforcing clay dikes, the twin communities were overwhelmend by an unprecedented 54-foot river crest and a dramatic fire which burned eleven histroric downtown buildings.

Uncommon heroes: The city of Grand Forks flood fight, 1997

Porter, Kimberly K

History

"This book grew out of Brian Paulsen's solo exhibition at the North Dakota Museum of Art, August 9-October 7, 2007"--p. [ii].Includes the essays, "Brian Paulsen's World," by Laurel Reuter, and "Fragments by Brian Paulsen as told to Laurel Reuter."Early years --Beginnings in art --College --Becoming a painter --Entering professional life --The North Dakota years --Living in a new community --Progression of work --The 1997 flood of the Red River --Art continues to change --Retirement and the family.

Brian Paulsen

Zoran Mojsilov

Lynn Geesaman spent two decades creating some of the most timeless and beautiful images ever made of the natural world as it brushes against and mingles with human creations. Formal gardens of the Western tradition became her ostensible subject matter, but she ultimately zeroed in on the margin between artifice and nature. Not interested in documenting reality, she mastered a diffusion technique to suppress detail in her black and white photographs. Her goal was to make photographs that stepped further and further away from the literal, resulting in rich fields of black that call to mind the opulent darkness of drypoint, a method invented for tonal printmaking. Geesaman studied physics and mathematics, which schooled her to instinctively organize pictorial space through geometric principles. In her haunting black-and-white photographs, Geesaman strove for three-dimensionality through chiaroscuro, pictorial representation that focused on light and shade. It was Geesaman’s response to the Bernheim Arboretum in 1992 that led her into color. She found that particular landscape unsuitable to her black-and-white aesthetic. Challenged, she took up color film and taught herself chromogenic printing—pushing the boundaries of this process. As her color work progressed, it became more and more abstract; her colors more surreal, more imagined, and closer to painting than traditional color photography. In 2007 she took her last black-and-white photographs, and in 2009 her last color. Published in conjunction with Geesaman’s first retrospective exhibition organized by the North Dakota Museum of Art, and her first to include both her black and white and her color photographs, the book was designed by Eleanor Caponigro and printed by Trifolio in Verona, Italy. The black and white photos were printed in tri-tone with varnish and the color photos were printed with Trifolio’s unique AreaW4, a high-performance unique offset process that is used for superior art reproduction.

Lynn Geesaman: Images

Photography & Video

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