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                <text>This is a figurative woodcut of Judas</text>
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                <text>In this original black and white woodcut print Judas is depicted standing.  In his right hand a coin sits on his palm while the left hand is dropping silver coins.  There are three crosses in the lower left quadrant of the image and there are three birds flying above those crosses.  </text>
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                <text>Notes: This is number 12 out of 200</text>
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                <text>Running, Cyrus M.</text>
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Created: 1955</text>
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                <text>Provenance: When Cy Running died his wife came to the donor's (Willis Stelter) house with this print and she wanted him to have it.  This print might have been a thank you for doing the design 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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                  <text>Mission Statement: The Concordia College Art Collection is an educational and cultural component of the College. It includes significant and valuable works that reflect a variety of artistic creativity and in part the College’s Norwegian heritage and location in the Upper Midwest.</text>
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                <text>Junker Jörg 1521</text>
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                <text>This etching depicts a frontal portait of Martin Luther.</text>
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                <text>Artist Statement – &#13;
&#13;
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                <text>Notes&#13;
Lasansky, Diego. Diego Lasansky: Paintings, Drawings, Prints. Cedar Rapids: Cedar Rapids Museum of Art, 2015. Print.&#13;
 "Diego Lasansky, grandson of famed printmaker Mauricio Lasansky, is a painter and printmaker in his own right.  While still a student at the University of Iowa (BFA 2016), his work has already garnered local, national, and international attention.  Prior to his formal college education, Diego Lasansky learned about artistic processes not only from his grandfather, but also from his uncles, three of whom are professional artists.  Growing up within this exceptional artistic milieu allowed the young Diego to learn the masterful techniques he employs.  Lasansky’s work is figurative, and, like his grandfather, tends to focus on subjects readily available to him—such as family members—and those of historical and personal significance, such as Goya, Rembrandt, and Martin Luther.  Early success came to Diego Lasansky in his series Portrait at Eighteen, a set of 50 intaglio self-portraits, each with distinct differences from the rest in the series."&#13;
&#13;
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                <text>Donor: President Darrel D. Colson, President of Wartburg College</text>
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                <text>Value: $1830.00</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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Academy 203</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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Shelf EE</text>
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When I was about eight years old, there was a housing development being built near the Minneapolis suburb I grew up in. For some reason, they dug all the basements and left the huge piles of dirt for a long time. My friends and I would spend hours at the development building trails and tunnels for marbles to run down. After they finally hauled all the dirt away, I would occasionally experiment with other materials to make my marble runs: a hose, pieces of wood, a model train track.&#13;
Much later, when I was in college at Minnesota State University- Moorhead, my ceramics instructor gave my class an assignment to make something non-functional out of clay. I remembered my childhood playing with marbles in the development and made a sculpture with tracks and tunnels much like I had in that first pile of dirt.&#13;
I spent the next fifteen years as a potter making mainly functional ceramics and selling them around the country at art shows. Occasionally I would work on another piece with balls rolling through it. It was always only marginally successful at best. Clay shrinks, warps, and can crack as it dries. The ball doesn’t roll the same way on wet clay as it does on the finished piece. I would end up making numerous pieces and having to throw them out because they didn’t work right.&#13;
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I knew how to weld, having built most of my own pottery equipment, so I started building sculptures with the metal and materials I had lying around. After a few years of making a sculpture every now and then, I had a number of them sitting around the house. My wife, Deb, convinced me I should take them to some art shows (she was probably looking down the road and imagining what our house would be like if I kept making them and not selling them). I was very hesitant about showing the sculptures, however. I had never seen anything else like them. I thought they were just my thing and that no one else would be interested in my moving sculptures.&#13;
Six months after doing the first show with my kinetic sculptures, I no longer had time to do pottery. Since then, the demand for my work has only grown.&#13;
The reactions of viewers and the crowds drawn to my work still amazes me. I live an artist’s dream.</text>
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                <text>Donor: This piece was purchased with funds from the ISC renovation</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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Lorentzen- Lobby&#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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                <text>Notes: The bust is a perched on a black formica stand in the lobby of Lorentzen. Below the bust is the royal crest of Norway. The measurements are for the size of the bust only. &#13;
&#13;
J. Paul Nesse grew up in the small town of Green Mountain, Montana. He began his career by studying portrait and figurative sculpture. He received a Master of Fine Arts in that field, however, he is most well known for his automotive sculptures. He strives to portray his figures accurately and realistically. Nesse maintains a studio in the St. Croix River Valley countryside near Stillwater, Minnesota.</text>
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In Storage</text>
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Fjelstad BO2 west wall</text>
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Academy - Religion Department - Room 215</text>
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Advancement - Room 108&#13;
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                <text>Condition Report: Good (2019)</text>
              </elementText>
              <elementText elementTextId="5869">
                <text>Condition History:</text>
              </elementText>
              <elementText elementTextId="5870">
                <text>Maintenance:</text>
              </elementText>
              <elementText elementTextId="5871">
                <text>Installation Needs:</text>
              </elementText>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="5872">
                <text>Concordia College Art Collection</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="5873">
                <text>Donor:</text>
              </elementText>
              <elementText elementTextId="5874">
                <text>Value:</text>
              </elementText>
              <elementText elementTextId="5875">
                <text>Provenance:</text>
              </elementText>
              <elementText elementTextId="5876">
                <text>Insurance:</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="5877">
                <text>1111.41.7</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="5878">
                <text>||||osm&#13;
In Storage</text>
              </elementText>
              <elementText elementTextId="7061">
                <text>||||osm&#13;
Shelf G</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9118">
                <text>To inquire about permissions or for use, contact Chris Mortenson at cmortens@cord.edu or the Art Office</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
