1. Patrick Miller ’02 and Patrick McNeil

Eastern Suspenso, 2016, 24 colors, silkscreen ink on Coventry Rag 325gsm paper, print edition of 300, signed, embossed, and numbered, 23 x 35 in.

Estimated Value: $5,000
Minimum Bid: $2,500


FAILE is the Brooklyn-based artistic collaboration between Patrick Miller ’02 and Patrick McNeil. Their name is an anagram of their first project, A life. Since its inception in 1999, FAILE has been known for a wide-ranging multimedia practice recognizable for its explorations of duality through a fragmented style of appropriation and collage.

While painting and printmaking remain central to the artists’ approach, over the past decade FAILE has adapted its signature, mass culture-driven iconography to a vast array of materials and techniques, from wooden boxes and window pallets to more traditional canvas, prints, sculptures, stencils, and installation. FAILE’s work is constructed from found visual imagery and blurs the line between “high” and “low” culture, emphasizing audience participation, a critique of consumerism, and the incorporation of religious media, architecture, and site-specific/archival research.

Read a Q&A with FAILE, creators of the mural covering the south side of the MCAD Main Building.

2. Colin Kopp ’06

Venus, 2016, archival pigment print, 33 x 50 in.

Estimated Value: $4,500
Minimum Bid: $2,250

Artist Statement

As long as I have been photographing, I’ve been drawn to an austere beauty and sensibility of “home”—specifically, the imagery of Midwest blue-collar America. The scenes are typically of a paradoxical nature—pictures of contemporary life that seem trapped in a memory. It is a decaying vision of the past and an uncertain view of the future. My ongoing photographic series Phantom Homeland attempts to make sense of these ideas by exploring the process of constructing nostalgia: that complicated mix of an emotion that exists in the spaces between joy, regret, memory, and fantasy. 

About Kopp

Colin Kopp is a Minneapolis-based artist and photographer. Kopp’s work has been published in Photo District News, Rolling Stone, URB Magazine, and Magnet Magazine. He was the recipient of a 2007/08 Jerome Foundation Fellowship and a 2010–2011 Minnesota State Arts Board Artist Initiative Grant. Most recently, he was a 2016 Top 50 finalist in Photolucida’s Critical Mass. In 2016, he was also a winner of The Curator, PDN’s annual fine art competition. His work has been exhibited nationally at galleries including the Foley Gallery in New York; the Mpls Photo Center; FilmNorth (formerly IFP Minnesota); Central Lakes College in Brainerd, Minnesota; and the Minneapolis College of Art and Design.

Read more about Kopp.

3. Shelly Mosman ’95

Luscious, 2018, photographic portrait printed on canvas, 24 x 30 in.

Estimated Value: $3,000
Minimum Bid: $1,500

About Mosman

Shelly Mosman received her BFA from the Minneapolis College of Art and Design in 1995. Her photography and portraiture has won numerous awards and has been exhibited nationally and internationally. Her work also has been featured in a number of magazines and other publications.

4. Julie Buffalohead ’95

Morning Mayhem, 2018, mixed media on paper, 26 x 50 in.

Estimated Value: $20,000
Minimum Bid: $10,000

Artist Statement

My work has focused thematically upon describing a cultural experience, an Indian experience, through a personal language that is a kind of iconography. My imagery is very personal but also provocative. I use storytelling in a specific way to reference figures with traditional significance, where spirit and identity intermingle in nonlinear and interwoven narrative form. These narratives are evocative of a range of concerns I have from historical, political, cultural, as well as personal history, motherhood, and childhood.

About Buffalohead

Julie Buffalohead (born 1972) is an enrolled member of the Ponca Tribe of Oklahoma. She received her MFA from Cornell University in 2001. Buffalohead is a recipient of the McKnight Foundation Fellowship for Visual Arts, the Eiteljorg Fellowship for Native American Fine Art, the Fellowship for Visual Artists from the Minnesota State Arts Board, and the Jerome Foundation Travel and Study Grant.

Buffalohead lives and works in St. Paul, Minnesota. She has exhibited both locally and nationally, with recent solo exhibitions at the Museum of Contemporary Native Arts, Santa Fe; the Minnesota Museum of American Art, St. Paul; the Highpoint Center for Printmaking, St. Paul; the Smithsonian National Museum of the American Indian, George Gustav Heye Center, New York; and the Plains Art Museum, Fargo, North Dakota, among others. She has been in group exhibitions at the Minneapolis Institute of Art; the Weisman Art Museum, Minneapolis; the Eiteljorg Museum of American Indian and Western Art, Indianapolis; and the Carl N. Gorman Museum, Davis, California, among others.

Buffalohead’s works can be found in public collections including that of the Field Museum, Chicago; the Minneapolis Institute of Art; the Minnesota Museum of American Art, St. Paul; the Rockwell Museum, Corning, New York; the Smithsonian National Museum of the American Indian, Washington DC; the Tweed Museum of Art, University of Minnesota Duluth; and the Weisman Art Museum, University of Minnesota Twin Cities.

5. Sam Taylor-Johnson

Not Quite Brilliant, 1995, photography, 81 x 21 in.
Donated by Peggy and Ralph Burnet

Estimated Value: $10,000
Minimum Bid: $5,000

About Taylor-Johnson

Sam Taylor-Johnson (née Taylor-Wood, born 1967) is a British artist and filmmaker. Originally a sculptor, she began working in the mediums of photography, film, and video in the early 1990s. The theme of being split between the internal and external sense of self has always been a focus of her creative work.

Taylor-Johnson has had numerous group and solo exhibitions, including the Venice Biennale (1997), where she won the Illy Café Prize for Most Promising Young Artist, and was nominated for the Turner Prize in 1998. Solo exhibitions include the Kunsthalle Zürich (1997); the Louisiana Museum of Modern Art, Humlebaek, Denmark (1997); the Hirshhorn Museum and Sculpture Garden, Washington DC (1999); the Museo Nacional Centro de Arte Reina Sofia, Madrid (2000); the Hayward Gallery, London (2002); the State Russian Museum, St. Petersburg (2004); BALTIC, Gateshead, UK (2006); the Museum of Contemporary Art Australia, Sydney (2006); the Museum of Contemporary Art Cleveland (2008); and the Contemporary Arts Museum Houston (2008).

Taylor-Johnson directed the Sundance Film Festival award-winning short film Love You More, released in 2008 and nominated for Palme d’Or and BAFTA awards. Her directorial feature film debut came in 2009 with the critically acclaimed Nowhere Boy, which was based on the childhood experiences of John Lennon and nominated for four BAFTAs, including Best British Film and Outstanding Debut. In February 2015, Taylor-Johnson released her second directorial feature Fifty Shades of Grey, marking the biggest opening in history for a female director.

In 2014, Taylor-Johnson released Second Floor, a photography book for Chanel on the private apartment of Coco Chanel, accompanied by a solo exhibition at the Saatchi Gallery in London. She was awarded the title of Officer of the Most Excellent Order of the British Empire for her contributions to British arts and culture in 2011.

6. Wesley Kimler

Hot Pink Afghan Battle Kite, from the Afghan Kite series, 2017, fluorescent paint, charcoal, and graphite on Stonehenge, 36 x 39 in.

Estimated Value: $8,000
Minimum Bid: $4,000

Artist Statement

“some stories don't need telling”
―Khaled Hosseini, The Kite Runner

Excerpted from 1st Amendment Media interview with Angela Verish, July 8, 2016

Verish: One of your most recent series has been the Afghan Kites. When you were around twenty years old, I understand that you moved to Afghanistan. How was that experience? Is this where you drew the inspiration for this series?

Kimler: Yes, I lived and worked in Afghanistan, one of my favorite places on earth when I was young—my real college campus. The Afghan Kite collages, which reference the fighting kites the people there fly, was made in part due to my history and partially due to someone I was once very close with who is involved with human rights work in Afghanistan.

About Kimler

Wesley Kimler (born 1953) is an American artist based in Chicago, Illinois, known for his colossal paintings, up to fifteen feet high and twenty-seven feet wide. According to critic Kevin Nance, these are “expressive, gestural, hybrid paintings that combine abstract and figurative elements in a way that's theatrical and beautiful, sometimes grotesque and surreal, and always powerfully evocative.”

Kimler once referred to himself as the “bête noire” of the art scene, referring to the way he utilizes the physical act of painting. His bold, wide open, gestural canvases are intended to encode a hierarchy of repeated symbols. He passes over Conceptualism’s often ironic interpretations to take the contributions of the Abstract Expressionists at face value, using their work as a sincere springboard for his own.

He is included in numerous private and public collections including the Metropolitan Museum of Art, New York; the Museum of Contemporary Art, Chicago; and the Rockford Art Museum, Illinois.

Read about MCAD's studio visit with Kimler.

7. Roman Verostko 

Shakespeare, from the Flowers of Learning series, 2007, algorithmic pen and ink drawing, edition of 20, 30 x 40 in.

Estimated Value: $7,500
Minimum Bid: $3,750 

Artist Statement

I know a bank where the wild thyme blows,
Where oxlips and the nodding violet grows,
Quite over-canopied with luscious woodbine,
With sweet musk-roses and with eglantine.
—William Shakespeare, A Midsummer Night’s Dream (2.1.255-258)

Seven colorful drawings celebrate educators and learning in the Flowers of Learning series. Below each flower, coded quotations draw on diverse fields of learning in world culture. Verostko drew these forms with ink pens guided by detailed drawing instructions known as algorithms. Employing relatively elementary programming languages, he taught himself how to create algorithms for drawing his “visual ideas” with a pen plotter—a drawing machine used by engineers and architects. Each “cyberflower” was drawn line by line with ink pens and acrylic inks mixed by the artist.

About Verostko

Roman Verostko (born 1929) maintains an experimental studio in Minneapolis where he has developed original algorithmic procedures for creating his art. A year after graduating from the Art Institute of Pittsburgh in 1949, he entered monastic life at Saint Vincent Archabbey where he studied philosophy and theology, was ordained a priest, and followed postgraduate studies in New York and Paris. Artworks from his monastic period include the New City Paintings and BROTHER, an eight-foot, load-bearing wall cast in concrete for the newly constructed Saint Vincent Monastery (1967). During this same period, he created electronically synchronized audiovisual programs for spiritual retreats.  

He departed from monastic life in 1968 and joined the humanities faculty at the Minneapolis School of Art—now MCAD. He began experimenting with code and exhibited his first coded art program, The Magic Hand of Chance, in 1982. In 1987, he modified his software with interactive routines to drive paintbrushes mounted on a pen plotter drawing arm. He received SIGGRAPH’s Distinguished Artist Award for Lifetime Achievement in 2009 and has had work exhibited in London; Karlsruhe, Germany; Linz, Austria; and Nagoya, Japan.

8. Peter Williams ’75 

Can O Worms, 2016, oil on linen, 36 x 48 in.

Estimated Value: $12,000
Minimum Bid: $6,000 

Artist Statement

My work is an exploration of race, representation, and rebellion. My introduction to social media has been relatively recent—in the last five years. My activity previously was an autobiographical journey; I explored difficult subjects through characters and figures within different narratives. These were interracial, political, and representational with the usual cultural symbols from Black culture.

About Williams

The work of Peter Williams (born 1952) has been described as “hallucinogenic, acerbic, pained, beautiful, confessional, obsessive, critical, jarring, wild, weird, and profoundly human.” Since the 1990s, his paintings have explored his Black cultural heritage, most recently in the publication The N-Word, a collection of new paintings by Williams that follows the superhero called “the N-Word” and responds to systemic violence against people of color by the police in graphic and direct terms.

Williams’s work was included in the 2002 Whitney Biennial and is in the permanent collections of the Detroit Institute of Arts; the Walker Art Center, Minneapolis; the Whitney Museum of American Art, New York; and the Mott-Warsh Collection, Flint, Michigan. Williams has received numerous grants, including two Joan Mitchell Awards, a McKnight Foundation Fellowship, and a Ford Foundation Fellowship for minorities in the visual arts. He received his MFA from the Maryland Institute College of Art in 1987 and has taught for more than thirty years as a full professor at the University of Delaware and at Wayne State University in Detroit, where he was also recognized as a distinguished professor.

Read more about Williams.

9. Jin Meyerson ’95

Tree of Life, 2014, unique acrylic polymer transfer on paper, 22 x 30 in.

Estimated Value: $5,500
Minimum Bid: $2,750

Artist Statement

From 2013 to 2015, I decided to stop making art. I had been fortunate, starting my career in the NYC art boom of the early 2000s, but I was burned out from more than a decade in the global exhibition circuit. I retreated to books and calm moments with my six-year-old daughter. One day while surfing YouTube, I stumbled on a video of a technique for transferring photos onto pieces of wood. This process related to Rauschenberg’s benzine transfer technique, and I thought that I could refine it using low-resolution architectural printers.

I tried printing a full-color file of one of my paintings and something magical happened. Because the printer uses only black and white ink, it created a chemical celadon greenish color as I was removing the paper plate from the paper base, which is glued down with a special acrylic polymer medium. This in turn allowed me to do a network of unique variations but still have a consistency of subject, guiding me back to my studio practice.

About Meyerson

Jin Meyerson (born 1972) is an American abstract painter who currently lives and works in Seoul and Hong Kong. Born in Incheon City, Korea, Meyerson was adopted into a Jewish-Swedish family from rural Minnesota. He received his MFA from the Pennsylvania Academy of Fine Arts in 1997.

Meyerson’s paintings have been featured in extensive solo and group exhibitions globally, including Zach Feuer Gallery, New York; Galerie Emmanuel Perrotin, Paris and Hong Kong; Saatchi Gallery, London; Galerie Nordine Zidoun, Luxembourg; and Arario Gallery, Seoul and Cheonan.

Meyerson’s work can be found in numerous public and private collections, including the Solomon R. Guggenheim Museum, New York; the Saatchi Collection, London; the Vanhaerents Art Collection, Brussels; the Dean Valentine Collection, Los Angeles; the de la Cruz Collection, Miami; the Speyer Family Collection, New York; the Yuz Foundation, Jakarta/Shanghai; and O Museum Bangkok.

Read more about Meyerson.

10. Alec Soth

Nome, Alaska, from the There’s No Place Like Nome series, 2015, archival pigment print, 14 x 17 in.

Estimated Value: $8,000
Minimum Bid: $4,000

Artist Statement
Excerpted from a VICE article, July 6, 2015

In 2003, a nineteen-year-old Native American woman was found dead in an abandoned gold mine in Nome, Alaska. Two years later, Nome police officer Matthew Clay Owens was convicted of her murder. Soon after his arrest, I was sent to photograph Nome for a magazine that went out of business before my essay was published. The place has haunted me ever since.

Nome mushroomed more than a century ago when three Scandinavians struck gold in Anvil Creek. Soon thousands of prospectors, prostitutes, and other opportunists arrived at the “Sin City of the North.” But it was also a place where visitors seemed to mysteriously disappear. In recent years, research has concluded that this is the result of harsh weather and rampant alcoholism.

As a photographer, I’ve never felt comfortable photographing outside my culture. While Nome feels as exotic to me as any foreign city, I’m also aware that it is a deeply American place created by outsiders for outsiders. This isn’t to say I ever once felt comfortable there. But it does feel like a place in which I could disappear.

About Soth

Alec Soth (born 1969) is a photographer born and based in Minneapolis, Minnesota. He has published more than twenty-five books, including Sleeping by the Mississippi, NIAGARA, Broken Manual, and Songbook. Soth has had over fifty solo exhibitions including survey shows organized by Jeu de Paume in Paris, the Walker Art Center in Minnesota, and Media Space in London. Soth has been the recipient of numerous fellowships and awards, including the 2013 Guggenheim Fellowship. In 2008, Soth created Little Brown Mushroom, a multimedia enterprise focused on visual storytelling. Soth is represented by Sean Kelly in New York, Weinstein Gallery in Minneapolis, Fraenkel Gallery in San Francisco, and is a member of Magnum Photos.