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                <text>This woodcut depicts several oaks, staggered throughout the picture's snow with a clear, light blue sky.</text>
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                <text>This woodcut depicts nine oaks, staggererd throughout the piece. The oaks are dark brown and leafless, and no snow lies on them. The only snow is upon the ground. It is a mixture of white and light tan colors that show the texture of the ground. The sky is a solid light blue color.</text>
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                <text>Notes: Charles Beck was born in Fergus Falls, Minnesota and a graduate of Concordia College in Moorhead, Minnesota. He completed military service during his time away from Moorhead and took advantage of the G.I. Bill to attend the University of Iowa and study art in the 1950s. After completing graduate school, he returned to the Red River Valley area and established himself as a prominent artist in the area. Much of his inspiration comes from the landscape of the area, specifically the woods, and farmland. In his 90s now, Charles Beck still works and creates prints out of his studio.</text>
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                <text>To inquire about permissions or for use, contact Chris Mortenson at cmortens@cord.edu or the Art Office</text>
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Fjelstad BO2 north wall</text>
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                <text>In Memory of Lotti</text>
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                <text>A dark and realistic tree sits in front of a pair of ghostly, nearly charicature arms and hands in this etching.</text>
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                <text>The trees branches are completely bare. Everything around it, its background, the hands , is pale. The arms are long, wearing dark sleeves, with white cuffs peeking out at the ends. The left wrist is bent upward at a 90 degree angle, with palm open, flat except for the thumb stretching a little farther back. The right hand holds up the thumb, pointer, and middle fingers with the palm facing the opposite way of the other hand. There appears to be a small hill behind the tree.</text>
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                <text>Notes:It is in a silver metal frame with glass. Marx was part of Concordia's Class of 1979. The piece is part of the Art Department Collection.&#13;
Robert Marx was born in Nordheim, Germany in 1925. He studied at the University of Illinois and Concordia College and traveled to Germany, Austria, Italy, Switzerland and France during his life time. During his travels he received much inspiration for works later in his life. Currently he lives in New York.&#13;
&#13;
From the artist's statement: "The people I draw, paint and sculpt personify the human condition. They are also the people we see around us, every day. I have favorite themes. I am troubled by: the arrogance of power, the exclusivity of the institutions of church and state, the abuse of and by both spouse and child, and our own and others' personal fears and insecurities... I work not only for myself, but also to make a connection with you."</text>
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                <text>To inquire about permissions or for use, contact Chris Mortenson at cmortens@cord.edu or the Art Office</text>
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Olin - Art Department - 1st Floor Corridor near Room 102</text>
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                <text>Notes: This is in a wood frame with glass. The dimensions are for the image.&#13;
&#13;
Link for viewing more of his work: http://www.therourke.org/james-t-orourke.html</text>
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                <text>To inquire about permissions or for use, contact Chris Mortenson at cmortens@cord.edu or the Art Office</text>
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President's Residence</text>
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                <text>Insurance:</text>
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                <text>To inquire about permissions or for use, contact Chris Mortenson at cmortens@cord.edu or the Art Office</text>
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President's Residence</text>
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                <text>The close growing poplars have a golden hue making up their leaves, set in a blond field against a robin's-egg-blue, cloudless sky. We cannot see the base and roots of these trees, for they are so close to the foreground and our field of vision.</text>
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                <text>To inquire about permissions or for use, contact Chris Mortenson at cmortens@cord.edu or the Art Office</text>
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Presidents Residence</text>
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                <text>To inquire about permissions or for use, contact Chris Mortenson at  cmortens@cord.edu</text>
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                <text>Notes: As of January 2019, the piece will be on loan to the North Dakota Museum of Art until its return in the fall. &#13;
&#13;
This in a wood frame with glass. &#13;
The is the fifth print in an edition of 25. &#13;
&#13;
Frank Sampson Retrospective&#13;
opens at the North Dakota Museum of Art&#13;
July 18 and continues through October 7, 2019&#13;
 &#13;
Thursday, July 18 at 5 pm -- The North Dakota Museum of Art will open a long-awaited retrospective exhibition by native son Frank Sampson. For three decades Mr. Sampson - now ninety-one years old - taught painting and printmaking at the University of Colorado in Boulder where he continues to make his home. He returns for a month each summer and winter to his North Dakota family home in Edmore. He flies into Devils Lake from Denver carrying a big roll of Arches paper. Up to a dozen new paintings rolled up under his arm go back to his Boulder studio to be mounted and framed. A peek preview of many of these same paintings can be had at the kick-off of the Museum's Concerts in the Garden on Tuesday, July 16th. Mr. Sampson will be present at the July 18th opening.&#13;
&#13;
When asked about his paintings, Mr. Sampson says, "In looking for past experiences and antecedents that may have influenced my work as an artist I think immediately of my childhood on a farm near Edmore, North Dakota surrounded by pigs, chickens, horses and cows as well as a story-telling mother who entertained and rewarded her five sons with vivid adventure stories. Her wonderful tales were full of fantasy and frequently animals played major roles."&#13;
 &#13;
Mr. Sampson has seen much of the world and many more animals since leaving Edmore for Concordia College in Moorhead. With his BA in hand he moved on to Iowa City in 1950 and emerged two years later with his MFA in painting and printmaking from the University of Iowa. Two years in the army followed. Under the G.I. Bill, Mr. Sampson returned to Iowa for three years of postgraduate work under Mauricio Lasansky, the groundbreaking and world-famous master printmaker (1956-50). Wherever he studied, however, he took extra classes in art history and that led to his successful Fulbright application to study the paintings of Hieronymus Bosch and James Ensor in Belgium (1959 - 1960).&#13;
 &#13;
Upon his return to the States, he was invited to join the Art Faculty at the University of Colorado in Boulder in 1961. He never left but retired in 1990 as a full professor. &#13;
 &#13;
His childhood interest in the farm animals - his job was to feed the chickens and gather the eggs - like his love of art history continues to absorb him. Bears and Brahman cows, elephants, storks and pelicans, and giraffes and foxes join his earlier cows and horses, pigs and chickens that peopled his earlier paintings. Weaving in and out of his visual stories is the French character, the sad clown Pierrot identified by his white painted face and pointed white hat. Pierrot is a stock character in nineteen-century comedies and pantomimes.&#13;
 &#13;
In Mr. Sampson's world the humans and the animals are all creatures interacting among themselves.&#13;
 &#13;
According to Colorado critic Michael Paglia, "Legendary Magic Realist painter Frank Sampson is still making magic at age ninety plus. His signature style is a soft, classic realism that has a kinship with the Old Masters, with lots of umbers and ochres lending the paintings a sense of dark mystery, like a Rembrandt. But this traditional mood is broken by the preposterous - or at least unlikely - subjects that he addresses and this is where the "magic" part of magic realism comes in. His depictions might be found in the clearing of a deep wood, springing up around a curve, or at some incomprehensible event. Only the painting tells the story."&#13;
&#13;
Artists are remembered or forgotten 1) if influential public institutions exhibit and collect their work, and 2) there is a seminal publication about their artwork. Frank Sampson's art has been seen in an impressive diversity of venues. A shortlist demonstrates the cross-cultural appeal of his paintings: the United States Library of Congress; Belgium, Brazil, Tokyo, the Denver Art Museum; the Nelson-Atkins Museum, Kansas City; the Berkeley Art Center; the Joslyn Art Museum, Omaha, Nebraska; the Minnesota Museum of Art, St. Paul; the Boston Public Library. &#13;
 &#13;
Except for small brochures, however, no such publication exists for this ninety-one-year-old artist. &#13;
 &#13;
Importantly, the North Dakota Museum of Art is mounting this retrospective and will acquire a significant collection of paintings and prints, all gifts from the artist. This will establish his archive in North Dakota, the mandate of the State Art Museum, named by the state legislature in 1985. &#13;
 &#13;
It will also publish the definitive book of Mr. Sampson's art and life, which will assure his place in the history of art on the northern plains. Eric Hylden has traveled twice to Boulder with Curator Laurel Reuter to photograph the work for the publication. Hylden's father was Mr. Sampson's Concordia College roommate. Others who have work with the Museum staff organizing the exhibition are photographers Mark Strand of Moorhead and Paul Gronhovd of Grand Forks.&#13;
 &#13;
A smaller version of the exhibition will tour North Dakota through the Museum's Rural Arts Initiative into 2022, without charge to the hosting communities. Already it is slated to go to Minot in January 2020, The International Peace Gardens in the spring, and Minot State in October.&#13;
&#13;
https://www.youtube.com/watch?v=DHSqYMFVWn0&#13;
&#13;
https://www.youtube.com/watch?v=DHSqYMFVWn0&#13;
&#13;
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                <text>To inquire about permissions or for use, contact Chris Mortenson at cmortens@cord.edu or the Art Office</text>
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Lorentzsen - Third Floor - located near Room 210</text>
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                <text>Maintenance:</text>
              </elementText>
              <elementText elementTextId="4658">
                <text>Installation Needs:</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="4659">
                <text>Concordia College Art Collection</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4660">
                <text>Unknown</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4661">
                <text>Donor:</text>
              </elementText>
              <elementText elementTextId="4662">
                <text>Value: $0.00</text>
              </elementText>
              <elementText elementTextId="4663">
                <text>Provenance:</text>
              </elementText>
              <elementText elementTextId="4664">
                <text>Insurance:</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4665">
                <text>To inquire about permissions or for use, contact Chris Mortenson at cmortens@cord.edu or the Art Office</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="4666">
                <text>1111.529.36</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="4667">
                <text>||||osm&#13;
President's Residence</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
