Lizzard's Art Gallery & Framing

           Artists

Glass
Durfee, Jess
Scott, Robinson
Twin Studio

Ceramics
Beaulieu, Dorian
Gruchalla, Richard
Myers, Tom
Kraemer, Karin
Molberg, Roald
Murphy, Robin
Rosetti, Carrin
Stauffer, Lisa

Woodwork
Glibbery, Robb

Photography
Huntzinger, Jason
Russell, Carolyn
Roberts, Henry
Steinke, Jay

Original Prints
Austin, Earl
Bowen, Betsy
Cooper, Joel
Quisling, Robb
Rauschenfels, Tom

Jewelry
Anderson, Terry
French, Julie

Fiber Art
Postance, Sharon Meyer
Fung-Holder, Tina

Sculpture & Mixed Media
Rasmussen, Carey
Savoy, Lisa
Wood, Jo

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Terry Anderson
Terry's current work is a lucky and somewhat intentional mix of various backgrounds: a "rock collector" since age 8, an interest in bronze casting and metal work, ceramics and oriental art history, with many study/research trips to the People's Republic of China, and of course, doing something with the 1000's of pounds of rocks collected over 40 years.

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Dorian Beaulieu
Since early childhood, Dorian has created things with his hands using a variety of materials. At age 15, he discovered the potter's wheel. The stimulating process of shaping and giving clay meaning struck a deep cord with him. During high school, he assembled a pottery studio in his parent's home on College Street. He has been working with and helping others experience the wonders of clay ever since.

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Mary Boman
Mary Boman's art career includes teaching for John Peyton at the Lake Superior Art Center in Duluth, oil painting at the Indianhead Vocational School in Superior, and private watercolor classes in her home studio. Each year, Mary participates in the Lake Superior Watercolor Society and the Art Institute Membership shows. Many of her watercolors have been donated to auctions and fundraising affairs. Mary is a graduate of St. Cloud State and has also completed course work in design and watercolor at the University of Minnesota-Duluth. Exhibitions include Gustavus Adolphus College, J-Michael Gallery in Edina, Frame Corner Gallery, Lizzards, Duluth Art Institute, and the Lynnhurst Congregational Church in Minneapolis.

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Betsy Bowen
Betsy Bowen lives and creates her art on the edge of the wilderness near Minnesota's North Shore. Her work in printmaking has focused on illustrations for picture books, written by herself and others. Recent interest in folktakes and pageantry has led her to create puppets and staging for community theater and dance performances. Betsy Bowen has lived in Grand Marais since 1968. A native of Chicago, her earliest memory is of color- an empty crayon box she treasured because of the many flecks of color left inside the lid. In 1985, after raising three boys, she was able to focus on her yearning to become an artist. She began making woodcuts and prints, but it was years before she could make a living doing so. In 1991, "Antler, Bear, Canoe: A Northwoods Alphabet Year" was published and became an immediate success. "Track in the Wild" followed in 1995. "If I were told that what I should write would be read in 20 years' time by those who are now children, and that they would laugh and cry over it and love life, I would devote all my own life and all my energies to it".

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Patricia Canelake
Patricia Canelake lives and works in St. Paul and in Duluth near Lake Superior. The MacDowell Colony, Peterborough, New Hampshire; The Yaddo Colony, Sarasota Springs, New York; and Harper's Ferry National Park, West Virginia have awarded her painting residencies. She has painted and exhibited in Provincetown, Massachusetts; New York, New York; The Headland Center for the Arts, Fort Barry, California and throughout Minnesota. Her paintings are in national and international museum collections and in private collections. Her work has been shown at the Minneapolis Institute of Art, the Minnesota Museum of Art, the Tweed Museum, the Provincetown Art Association, the Gayle Elston Gallery in New York, Joy Kops Gallery and Lizzard's Gallery. She is a 1997 recipient of the Jerome Travel and Study Grant, received the 1989 McKnight Fellowship Foundation Award and the 1995 Minnesota State Arts Board Headlands Residency. Canelake recently served a two-year term as a panelist for the Minnesota Artists Exhibition Program at the Minneapolis Institute of Art. In 2000, Canelake was awarded an Arrowhead Regional Artist Fellowship and a McKnight Artist Fellowship.

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Elsie Cook
Elsie was born in Oklahoma but inspiration for her paintings certainly comes from spending time throughout her life in California, Colorado, Wisconsin, Massachusetts, Germany, and Turkey. We are fortunate to have her in Duluth! A graduate of Oklahoma State University, Elsie taught elementary education for 12 years. Elsie's work has graced exhibits and competitions throughout the United States and in Ohara, Japan. Some of these include: St. Louis Heritage and Arts Center, Watercolor- Oklahoma; Adirondacks National Exhibition of American Watercolors- New York; Tweed Museum- Duluth; North American Marine Arts Society- Gloucester, Massachusetts; Oil Painters of America- Chicago; Meadow Creek Gallery- Edina; Rhea Gallery- Denver; and International Exhibit of Watercolors- Ohara, Japan.

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Joel Cooper
Joel began art screen printing in 1989 having been introduced to the process through a workshop at the Duluth Art Institute. His work has been exhibited at various Duluth Art Institute shows including the  Community Foundation, Barnes and Noble, and the Great Plains National Print Show as well as numerous galleries in the region. 

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Louise Daley
Living in the Midwest all her life, Louise's work is deeply rooted in the landscape of this part of the country. Most of her work is a celebration of the shapes, colors, and beauty of the different seasons. She is in love with all of it, the woods, the rivers, Lake Superior, and the interesting changes of light that occur with the seasonal transitions. At a very early age, Louise realized that her response to the beauty in nature was very intense. Louise seems to have a need to express her feelings about what she sees. Pieces of paper with no lines on them were treasures to be hoarded and carefully tucked away until the time or inspiration came for a drawing or painting. Now her intention is to express her feelings about the landscape and attempting to delve deeper into its, meaning, mysteries, subtle changes and incredible beauty. After working exclusively in watercolor for many years, Louise has resumed her interest in pastels and oils and is enjoying new directions. She is still drawn to landscapes and at times pushes the images to the limit and creates totally abstract pieces. A Minnesota native, Louise is married with four grown children. She has lived in Montana, North Dakota and Nebraska. Her work is included in the collections of several corporations such as Honeywell, Amfac Hotel, US Bank, Wells Fargo Bank, Qwest, Daytons stores and others.

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Lee Englund
Lee Englund is a plein-air oil landscape painter who has been for over thirty years.  His love of nature and art has given him a passion for painting landscapes on location.  Lee loves the challenges posed by working in all kinds of weather, at any time of year and at all times of the day - among them wind and rain, rapidly changing light, and bugs!
     Lee has a B.F.A and B.A.A. from the University of Minnesota - Duluth and has taught drawing and painting in the Duluth public schools for the past nineteen years.  He has had the opportunity to study with numerous well-known painters and is a member of the Oil Painters of America.  Lee has received awards in many regional and national juried art competitions.  His work hangs in collections across the United States.

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Robb Glibbery
Duluth, MN - “I have had a lifelong love of wood. With skills and craft, both inherent and acquired, I have the privilige of liberating these objects from their natural form. At times I feel as if I am a prospector on a quest for treasures.

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Ann Jenkins
Ann is a native of Duluth, Minnesota. She received a BFA degree in painting from the University of Colorado, Boulder in 1966, a graduate degree in Library Science from Western Michigan University, Kalamazoo in 1968, and did fieldwork at Frick Art Reference Library, New York. She did further study at the University of Oslo International Summer School, and at the Santa Fe Institute of Fine Arts Program in 1993 where she worked with landscape painter Wolf Kahn. Ann Jenkins' work had been exhibited at a number of galleries and museums in Minnesota, Canada, and Sweden. In addition, her work has been reproduced as cover art for a number of publications including "Shennandoah" and the "Women's Great Lake Reader". Ann lives in Duluth with her husband and son. Ann is interested in the abstract rendering of landscape. Her paintings are concerned with the arrangement of fields of color, and she believes that color is a medium which can convey the most subtle and complex feelings, and can give the viewer...a sense of a particular place and time that goes beyond literal visual accounting of that place. She works with oil, acrylic, pastel, and monotype.

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Karin Kraemer
Karin grew up in Minneapolis and received her BFA in glass working from St. Cloud State University in 1986. After blowing glass in Colorado, Minnesota and Wisconsin, Karin found herself in West Virginia. She began to make clay work and pit fired it in her yard and was hooked. She moved to Carbondale, Illinois and did graduate work in ceramics there. She received her MFA in 1996 and moved to Duluth at the end of 1997, and presently works at the Duluth Art Institute, teaching and making work. Karin's pots are thrown and built with red earthenware, fired to bisque, then glazed in a white opaque tin-based glaze. Next she mixes over-glaze colors of stains and carbonates with the same basic glaze ingredients and paints them on top of the glaze, and fires the pots again to finish them. This is the Majolica process. Karin loves to work with the rich red clay as well as the connection it has to historical Spanish, Italian and Mexican pottery. Painting on the pots allows her  to explore color and from relationships between decoration and the pot, and the low-fire process gives a wide palette to work with. The imagery is drawn from the garden and the woods, fish, cooking, and eating... all connected things!

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Anne Labovitz
Anne Labovitz was born on the shores of Lake Superior, in Duluth, Minnesota. Her grandmother, Ella Labovitz, also a painter, and the Lake both significantly influenced Anne's early work. Anne first watched and learned while Ella painted, which sometimes included sitting for a portrait of Anne. Later they painted together. These joyous times inspired Anne to embark on her career as a full time artist. After Ella's death in 1992, Anne purchased an adobe home in the mountains of northern New Mexico and constructed a large and well-equipped studio. The inland location coupled with the special light in the mountains have given further stimuli to Anne's unique abilities to use color, shapes, and textures to communicate. Travel is an essential part of Anne's life. Recent trips have included Europe, North Africa, South Pacific, and Australia. 

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Stephen Lubovich
Stephen Lubovich is a contemporary realist painter. His work incorporates elements of traditional still life but adds to it a more personal, psychological edge which depends less on shared symbolic cues and more on individual interpretations. These are not paintings that lend themselves to simple resolution. They carefully blend the everyday, the enigmatic and the paradoxical into a new reality that reflects not some isolated view of existence but a vision that is connected to the complexity of the world we live in. A reality that reveals itself in those private moments at three o'clock in the morning. 'By carefully observing physical form and thoughtfully considering it's symbolic resonance, Stephen Lubovich creates timeless Caravaggio-like visions resplendent with bold chiaroscuro and dramatic color shifts. Rendered in a convincing "Old Masters" style, the artist meticulously crafts his compositions to add an ironic note of historical credibility to the contemporary message of his work. In harmony with the still life tradition of the past, Stephen Lubovich's sumptuously detailed, symphonically-rich oil paintings lure us into examining the virtue of oour values while contemplating the appeal of our possessions'.- from "Still Life: A Private View", by John Steffl, artistic director, Duluth Art Institute. Mr. Lubovich has a MFA degree from the University if Wisconsin- Madison. He has received a grant from the Minnesota State Arts Board to study naive painting in Yugoslavia. He has participated in regional, national and international juried shows. His paintings are in the public collections of Central Lakes College Brainerd, MN. and the Tweed Museum of Art in Duluth, as well as private collections throughout the country.

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Alberta Marana
Alberta received her B.A. in studio art and sociology from Hamline University in 1973 and her M.A. in studio art from the University of Wisconsin- Superior in 1995. In 1996 she received a first place award at the XVI Annual Exhibition in Braaadenton, Florida. Other awards include Best of Show- Duluth Arts Institute in 1991, Merit Award- Midwest Pastel in 1998, and the Milwaukee Arts Commission Purchase Award in 1987. Her work has been exhibited in shows throughout the midwest including many solo exhibitions. Highlights include: Fifth Annual National Juried Pastel Competion- La Fond Galleries, Pittsburgh, Pennsylvania; UNEAC Exhibition- Pinar Del Rio, Cuba; Pastels- Phipps Center for the Arts, Hudson, Wisconsin; Remarkable Women- Peltz Gallery, Milwaukee, Wisconsin; Pastel Drawings- Grace Chosy Gallery, Madsion, Wisconsin; Arrowhead Biennial Exhibitions- Duluth, Minnesota; Landscapes- J. Rosenthal Fine Arts, Chicago, Illinois; Wisconsin Art Energized- Cudahy Gallery of Wisconsin Art, Milwaukee, Wisconsin; Pastels Only- National Arts Club Gallery, New York, New York and others. "As a pastel landscape artist from northwestern Wisconsin, I find my working outdoors can be a very moving, spiritual experience. It's made me aware of where I live, the seasons, the powerful presence of the moon, and the continual rebirth of life. Creating landscapes has attuned me to the peace and joy that can be found in nature. It is a connection to the earth that I strive for in my landscapes."- Alberta Marana.

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Roald Molberg
Duluth, MN - Prior to ceramics, my background was in technical illustration and mechanical inspection of machine parts. I found ceramics to be the creative outlet that I was lacking. In observing clay construction methods, I found a way to combine the spontaneity of hand-building with structured wheel components and form. These works start with a thrown foot, the mid-section is hand-built (with all seams blended on the inside), and the top section is finished with a wheel thrown neck or seat and cover.

I recently had the honor of having Chung-Ho Cheng ( a Taiwanese Master potter and kiln builder) assist in a group shared wood firing. During the firing, Cheng very eloquently described ceramic art as “the flame, the clay, and the heart.” I only hope my passion for ceramic art comes through in my work as it does in his words.

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Sharon Meyer Postance
Sharon lives on a farm in northern Minnesota and finds her inspiration in the gardens, fields and woods surrounding her home. Her 1969 BA in art history is from the University of Minnesota-Minneapolis. She attended a fiber workshop at the Split Rock Arts Program and ceramics workshops at Sun Valley Art Center in Sun Valley, Idaho and Duluth Art Institute. The fiber workshop introduced her to the medium in which she now works. "I make sculptural vessels (nontraditional baskets) out of paper, often incorporating wire, jute or sisal twine, beads, birchbark or other materials. In these paper mache forms, I combine my interest in three-dimensional form with my love of textural materials to examine and celebrate the natural world." -Sharon Meyer Postance

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Henry Roberts
When I was 12 years old, my mother let me use her Kodak folding camera to take my first pictures. Later my parents gave me a used 35mm camera that I used extensively in high school and college. Since that time, I have always had a camera at hand. Habitually my subjects have been nature and scenics in Northeastern Minnesota, but often I have done informal pictures of the people about me. Now that I am retired, I am spending much of my time creating photographic images.
    I am Very attracted to flowing lines, shapes, and forms. In search of meaningful images, I have explored the Colorado plateau of Arizona, Colorado, and Utah. Over millions of years, the forces of deposition, uplifting, and erosion formed this magnificent area. The result is a landscape of infimitely varied shapes and forms.
    At first I worked on broad landscapes, particularly sand dunes scattered across the plateau. I found that at dawn and dusk, the low light accentuated their sinuous forms. The crests formed graceful lines fully as fluid as the most skilled ballet dancers. As I explored, I began tp notice the plant life surviving in this harsh climate. Soon I began taking close-up images of the plant and animal life as well as grand landscape images.
    The sand dunes have a life, but it is measured in hundreds of thousands of years. The quartz crystals of the dunes become compacted, form sandstone, then become eroded by water and rain, releasing the quartz crystals once again. The restless wind pushes the sand into the new dune formations starting the process anew.
    Utah’s Coral Pink Sand Dune state park is a motorized parkwhich visitors freely explore on their ATV’s. At first this troubled me as I tried to make images free of the touch of man. But on reflection, I realized that man is just as much a part of the natural world as the deer I surprised crossing the dunes one morning. And on deeper reflection, I realized that in the sand dune of time, man is merely a single grain in the passage of billions of years. In the ebb and flow of species, man will be subsumed in the dune of time as new species evolve.
    Each area of the Colorado Plateau has a distinctly characteristic feeling. On the plateaus of Bryce Canyon one can gaze tens of miles in any direction, feel storm winds roughly jousting, see cloud formations prancing across the vaulted sky.
    Sand dunes have a different feel. In the velvety cool touch of dawn, they are quiet, peaceful, serene. But by afternoon the wind becomes a stalking tiger driving dust and quartz particles into every crevice and orifice.
    Slot canyons, where the waters of flash floods have incisively cut through fifty, a hundred or more feet of variegated sedimentary beds, are silent passageways of religious solitude. The sun’s rays, when they do penetrate, are no more than the brief flicker of a candle. As one walks the sandy streambed, walls close to brush one’s shoulders, then open into caverns lit momentarily by diminutive rock skylights. And always present is the unexpressed fear that a thunderstorm, miles upstream, will fill the conyon with deathly surges of turbulent water.
    From my experiences on the Colorado Plateau, I now find myself searching for new forms, often in close-ups of flowers and others objects.

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Carolyn Russell
Carolyn Russell's recent trip to Scotland and Wales provided inspiration behind her donation to ARTcetera. Carolyn spent most of her professional life as a public school music teacher, piano teacher, and choir director. A move to Duluth gave her a chance to try something new. The visual arts have interested her ever since she could remember and this led to studies in oil painting, watercolor and print-making. Her interest in the visual arts eventually led her to photography. A class from Sister Naomi Weygant left her with an impression of how enthusiasm affects artistic work. She has also participated in several years of study with Duluth photographer Jay Steinke. He provided a solid grounding in photography skills such as attention to detail, a search for perfection, and most of all, a love of the art. 

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Irving Zane Taran
Taran was born in Duluth, Minnesota in 1941, receiving his earliest formal art training from Melhior Kumsha, his mentor, an artist and educator in the Duluth Public School System.  He went on to study art at the University of Minnesota, Duluth.  After receiving his B.S. degree in 1963, he entered the MFA program at Michigan State University, East Lansing.   Painting and ceramics were of dual significance for him during his undergraduate education.  In his initial year of graduate work, the viscosity, fluidity, and color inherent in glazes became his focus.  He sensed that the painting medium and acrylic paints could better address his personal exploration as an artist, and received his MFA in painting in 1965.  In 1970 his work began to be influenced by satellite photography and topographical studies as source materials.  He began exploring the nuances of surface, space, and hue with an energy reflective of his own temperament to form, in his words, "a vigorous pictorial event."  According to Taran, they are "mapping incidents," marks in the tracking in the ongoing artistic search for what modernists call "true feeling, unmediated experience, individuality, or the essential self."  Color fields become undulating color planes. Textures change from thin to viscous.  Marks realize themselves with subtlety or insistence.  Titles and formal elements interrelate and recall Alaskan ice fields and alluvial fans, flood plains and deltas, land masses formed by sediment deposits, and the reflection or apparition of light.  With the aid of today's technology, Taran perceives the earth from wide vistas and angles that he translates into points of visual entrance into his paintings.  His paintings are as much about movement through pictorial space as they are about color and form.  And yet color plays a crucial role as the embodiment of line and shape in blended, contrasting, or subtly differentiated tints and shades.  His large canvases are beguilingly beautiful and visually complex.  They recall the modernist interest in exploring the essence of painting, its materials, and its impact.  They also speak to the postmodernist interest in the nature of the production of meaning, how it is mapped and made visible. 

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Robin Murphy
Bayfield, WI - Color, pattern and imagery all strongly influence the physical experience of an object. Seeking avenues of meaning that embody both form and surface and keeping those issues in balance is the challenge. I am curious about the emotional response decoration triggers. And, I am interested in how glazed surfaces, being the last layers of information added, are capable of affecting form. Glaze decoration becomes analogous to clothes or costume with bits of exposed clay flesh.

I am interested in the potential magic an object can solicit or project. When the conversation emanating from a teapot has the ability to solicit curiosity or questions then a dialogue is put in motion between the viewer and the piece. When that dialogue invites one to explore it, to circle it, peer down the spout, to try to finish the unseen sentences contained within the teapot, under the lid or foot. That is magic!

Pottery holds decoration and I am motivated to decorate, to emblazen surface with color. Therefore, function provides a context within which to work. It is the framework which allows me to explore and reinvestigate formal and subjective ideas about shape as color rather than form. And, it is the clay that reminds me of my initial attraction to the material; simply that it moves and adapts and becomes in one’s hand.

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Adu Gindy
Like Paul Klee, I, too, am a romantic and see painting, or the creative act "as a magical experience in which the artist in moments of illumination is able to combine an inner vision with an outer experience of the world in the visible rendering of a ‘truth’ that was not ‘truth to man or nature but was itself parallel to and capable of illuminating the essence of nature." Or, as Frank Stella would say, "what you see is what you get."

In my mind, flowers are a universal language. The abundance of flowers in my work is both an indication of my longing for Spring and my desire to reach out to the viewer.

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Robinson Scott
Each piece of hand blown glass is individually designed and created by myself. The techniques used to produce these works are thousands of years old and have been handed down through many generations of glass blowers. I received my formal training at the University of Minnesota, the Pilchuck School of Glass in Seattle, Washington, and as an apprentice to Swedish Master glass blowers, Jan-Erik Ritzman and Svenne Carlsson.

Tom Myers
My fascination with pottery began in 1992 on a visit to Phoenix, Arizona when I purchased a beautiful black-on-black Casas Grandes pot.  I've never regretted that purchase, for it sparked an interest that has become my second career.

I began my "pottery training" by participating in ceramic workshops sponsored by the Duluth Art Institute.  I've also attended seminars organized by Robin Hopper in Victoria, British Columbia and Tom Coleman in Las Vegas, Nevada.  And, like most potters, I love to prowl the ceramics exhibits in museums throughout the country.

In 1997, shortly after I retired from my 30 year medical practice, I purchased a small gas kiln and got my home studio going.  I wheel-throw my pots with porcelain and enjoy emulating classical pottery forms and experimenting with cone 10 glazes.

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Richard Gruchalla & Carrin Rosetti
Richard and Carrin work in vessel form. That is, the objects they make have the form of utensils for holding something - a vase, a basket, a pot, etc. They work in clay and put the vessels through a firing process known as Raku. Raku is a process by which certain glaze finishes, textures, and looks are achieved. Raku is a very drastic and dramatic process. The vessel is put through rapid extremes of temperature, and taken from an atmosphere rich in oxygne to one dense with carbon and back again. The process is so severe that it would cause most ceramic pieces to shatter: and even though the clay they use is formulated to withstand the extremes of the Raku firing, many of their creations are lost to thermal shock. The pieces that make it through the firing intact have a distinctive look: the clay is blackened, the glazes are crackled, and the atmospheres affect the colorants in the glazes. The mark of the fire is on the piece.

Richard comes to Raku from a foundation in functional pottery. After receiving his degree from Moorhead State University in 1972, Richard spent twelve years producing utilitarian stoneware and porcelain before turning his full attention to decorative pottery, He is rooted in tradition and has great respect and admiration for traditional forms and processes. During the last three years Richard has been joined in the studio by his wife Carrin, collaborating on new concepts and ideas as they work side by side. Carrin comes to the clay studio with a background in fibers (in which she still works) and art history. She is a 1990 BFA graduate from the University of Minnesota, Duluth, and has spent the last seven years as a studio artist. Both artists are past recipients of McKnight Fellowship Awards granted through the Arrowhead Regional Arts Council of Minnesota. "It’s the making of the piece and the spontaneity of the Raku firing that is so appealing. Our creative voice speaks through the materials we have chosen to use, but the Raku process retains its editorial power over our expression. We think it's a working arrangement."