monika baer - artic.edu
TRANSCRIPT
P A I N T I N G T O D A Y frequently seems lost in
convention. Even the once heroic, liberating
gestures of expressive or geometric abstrac
tion are now ritualized repetitions. These
conventions are not, however, merely stereo
typed formulas; they also form a sphere of
mythological, political, individual, and social
expectations and experiences. Far from being
limited to the literal meaning of the surface
and the material, painting—precisely in its
conventionality—offers a highly referential
symbolic form in which discourse and prac
tice merge. Monika Baer's work, by oscillat
ing between literal and referential meaning,
investigates this intersection, negotiating
the possibilities of painting as a complex
artistic language.
Untitled (2005) places us before a vast expansí
of space populated with green-brown washes
and stains. O n the far right, finely rendered
objects (coins, bills, and sliced charcuterie)
seem to fall through the murky atmosphere.
The juxtaposition of painterly abstraction
with nearly trompe l'oeil treatments is
jarring. Discordant styles and seeming non
sequiturs define much of Baer's work, in
which a picture's primary subject is painting
itself. The artist rejects soley or uniquely
narrative readings of her paintings in favor of
"engagement with the complex occurrence
on the canvas."1
The objects in Untitled recur in a variety of
other forms in Baer's paintings. The rect
angles of the bills show up elsewhere as road
markings, playing cards, bricks, and blocks
of color. The circles of the coins and meat
slices reappear as breasts, eyes, holes, and
heads. As common, in some cases charged,
motifs, they abound in associations. But Baer
privileges the painted forms over that which
they reference. Not "things" per se, they are
shapes floating, falling, and flying in regions
of painted space. What they do is serve as
agents in the picture. What they mean, they
mean for each of us alone.
Untitled (Parkhausl 199
Baer studied painting at the renowned
Kunstakademie Dusseldorf from 1985 to 1992,
when the school witnessed the ascendence
of photography, following on the heels of
the Conceptualism of the 1970s. Painting's
staunchest defenders at the academy during
this period were the male Neo-Expressionists
of the previous generation. The artist's early
M O N I K A B A E R
I huiüeiL 200s
work evidences rhe tension generated by
her compulsion to paint while refusing to
embrace the existing models of what painting
should be. Describing her response to what
she perceived as the impossibility of making
a painting, Baer employed the language of
theater and film: "I approached the picture
as a site of staging or performance and as the
object of staging itself." :
Untitled (Parkhaus) (1990)—created during
Baer's student years—is just such a site of
staging. The picture consists of a ground that
recedes into deep space but is punctuated by
loosely painted rectangles that appear to sit
on the painting's surface and form a kind ot
architecture suggestive of an underground
parking garage. We know these colored geo
metric forms from Constructivism and Plasti-
cism, where they typically appear against
monochromatic backgrounds. But in Baer's
painting, the pictorial space appears perspec-
tivally rich and personally expressive in just
the way that such prior schools of abstrac
tion sought to defeat. In the center of the
picture, at what would be the vanishing point
if it were a traditionally ordered painting, a
white rectangle obstructs the horizon. O n it
appears a finely rendered depiction of a man's
nose and slightly smirking mouth; the face .
is abruptly severed by a stark black expanse
reminiscent of a roof beam, a curtain about
to drop, or a censor bar. Thus began Baer's
propensity for mixing things whose combina
tion is forbidden by conventional art histori
cal narratives of the succession of styles, and
for moving restlessly among disparate motifs,
thereby raising aesthetic themes deemed off-
limits in contemporary art.
Shortly after leaving the academy, Baer
received recognition for a group of works
known as the Mozart paintings, which depict
a puppet play in a marionette theatet based on
the National Marionette Theater in Salzburg.
Her interest in the canvas as a form of stage is
hete made literal. Each work features the edge
of the stage rendered in trompe l'oeil, with the
petformance unfolding above. Highlv stylized,
brighrly colored, and rendered in elaborate
rococo detail, these paintings act as a foil for
Baer's more abstract subsequent work. Yet the
dramatic interplay of abstraction and figura
tion that characterizes the later paintings is
already in evidence, as the stage's elaborate
decor dissolves into explosions of color washes
and hard-edged pattern.
Baer next created a series of white paintings,
including Untitled (man with hole) (1998),
which depicts a disembodied, ruddy-faced,
bulgy-eyed, bulbous-nosed head reminiscent
of the classic Sàufergesicht (drunkard's face)
of seventeenth-century genre painting, but
is actually based on a still from Erich von
Stroheim's 1924 movie Greed. Just to the right
of the unkempt hair, Baer has cut a rough
hole through the stark white canvas, reveal
ing a segment of the stretcher bar. Head and
hole togethet teptesent—both historically and
manually—the painting and its construction
and are bound together in a narrative moment.
Untitled (man with hole) directly relates to
two later series, the bteast paintings (2008-
09) and the monochromes (2009-10), which
also feature manipulations of the canvas
support. Each breast painting consists of two
sections of canvas, stained to resemble light-
wash denim, and stitched together with a
double seam running vertically, out of which
prottude one or more stylized breast forms
with drips and squirts. The cartoonlike,
almost phallic, quality of these forms distance
Untitled 1 man with hole), 1 9 9 8
monochrome, 2 0 0 9
them from essentialist readings of the motif.
As Juliane Rebentisch has argued, "Breasts are
not Baer's subjects; het interest is in the reser
voir of images of breasts."' Indeed, Baer em
ploys a mash-up of references and styles here,
juxtaposing early Christian renderings or the
Mother and Chi ld , the trope of machismo's
bursting jeans. Surrealist and Pop treatments
of the body, and painterly abstraction.
The monochromes each consist of a series of
holes painstakingly cut out of the canvas to
represent a spiderweb form, monochrome
(2009) is bubblegum pink and has an actual
cigarette placed on the upper left edge of its
frame, monochrome (2010) is black, save for an
oversize depiction of a playing card. Neither
painting is a monochrome in the Minimal
ist sense of their title: glimpses of stretcher
bar, hanging hardware, and wall are visible
through the cutout web forms; and the
cigarette, playing card, and web rhemselves
are vehemently figurative interlopers on this
supposedly reductive surface.
Rear Painting (2012) picks up where the
monochromes leave off, comprising thick,
sheeny layers of black acrylic mimicking
impasto oil paint. Three keyholes, painred
whire, pastel pink, and baby blue, con
trast with this unctuous black ground. The •
work depends on the idea of the unsullied
Minimalist surface, but only after it has been
tainted by the use of the wrong color, the
insinuation of symbolism, and the sheer pres
ence of representation.
There are no such openings in rhe red wall
paintings (2010-12). In each a course of finelv
rendered masonry runs down rhe right third
of the picture. The resr of the painting is
occupied by a dense field of red, identified as
a wall onlv by the work's title. White smears,
scumbles, blank playing-card forms, or graffiti-
like elements move through the field; they
sit on top of and emerge from behind the
wall. Ulusionistically rendered chains swing
in front of (or through?) the red expanse,
making rhe nature of its space ambiguous.
The red field can be an abstract plane or a
representation of deep space. The phrase
"banging ones head against a wall"—or wast
ing time on a hopeless task—comes readily to
mind. The image is apt for the effort to parse
Baer's constructions using a simple language
of representation or abstraction. This is an art
of both/and.
ledge (2013), one of Baer's most recent works,
is the first in a series of paintings with alcohol
bottle motifs. Again, various modes operate
in the pictorial space simultaneouslv: a
painterly wash, a drawing of the profile of a
passed-out drunk, several sketchy outlines of
bottle forms, and a trompe l'oeil depiction
of five liquor bottles. A l l of these elements
sit on a field of pastel pink, green, and blue
oil paint. Wi th their varying degrees (and
implied types) of emptiness, the bottles create
their own space on an otherwise flat surface.
In a small alcohol painting, 3 bad habits ($a)
(2013), the cigarette of monochrome (2009)
reappears as a finely rendered spent butt,
accompanied by an actual miniature liquor
bottle. A billowy, abstract painted form at
once links the cigarette to the booze and
suggests that the third bad habit is, perhaps,
indulging in painterliness.
When a medium is as loaded with mythol
ogy, politics, and expectations as painting,
it can be hard to pursue it without being
expected to also "sav something about paint
ing." Baer welcomes this difficulty and insists
rote Wand (4). 2012
î bad híibiti (ia). 20lt
that it is not necessary to say anything in
particular; in her work, significant statement
exists apart from concrete meaning. We roam
with the artist through an incurably eccen
tric archive. Her painring revels in derail but
tells no story. 1rs subject matter is at once
intensely common and commonly intense—
puppets, brick walls, body parts, playing
cards—and always evoking afflictions and
desires. As painted objects, these motifs pique
our interest, but the works they appear in do
not present an obvious agenda.
Rather. Baer's paintings embody the visceral
pleasure and pain or their own making. In
their performance of urgency and "declass-
ing," her statements on the power and poli
tics ot desire are made.4 The kind of satisfying
closure that essays like this move toward,
Baer's art precludes, so full is it of historical,
stylistic, and physical openings. It is in these
very gaps—rooted in rhe emphatic focus and
opacity of her project, and its defiant insis
tence on and resistance to convention—
that we discover Monika Baer's sublime.
LISA DORIN
GUEST CURATOR
N O T E S 1. Paula van den Boseh. "Interview with Monika Baer," in
Monika Baer: Paintings and Works on Paper. 1002-20
(Bonnetantenmuseum. Maastricht/Walther Konig, 200s). p. 86.
2. Ibid., p. - 4 .
I. Juliane Rebentisch. '"The Spider ot Painting' and Other Short
Stories on Monika Baer," in Monika Baer. ed. Galerie Barbara
Weiss and Richard Telles Fine Art (Walther Konig, 2011), p. 15s.
4. Ibid., p. 1S4- "Rather than negating torm Hat out, [Baet]—
to put it with Georges Did] Hubermans paraphrase of [Georges]
Bataille—'dialecticallv negates" it, 'déclasses' it. strips it of its age
old ontologieal privilege.'"
M O N I K A B A E R
Born Freiburg, Germany, 1964
Lives and works in Berlin
Studied at the Kunstakademie
Dusseldorf, 1985-92; Paris Stipend,
Kunstakademie Master Student,
1992; Peter Mertes Stipend, 1998
S O L O E X H I B I T I O N S
2012
Return of the Rear, Galerie
Barbara Weiss, Berl in
2011
murals and muse, Richard
Telles Fine Ar t , Los Angeles
2009
Monika Baer, Die Reliknon,
Golden Pudel C l u b , Hamburg
o-to-i, Galerie Barbara Weiss,
Berl in
in Ketten, Galerie Eva Presen-
huber, Z u r i c h
2008
Monika Baer, Richard Telles
Fine Ar t , Los Angeles
2007
Monika Baer {with Thomas
Bavrle), Galerie Barbara
Weiss, Berl in
2006
Monika Baer, Ausstellungs-
halle für zeitgenóssische
Kunst, Mi ins te r
Monika Baer: Paintings and
Works on Paper, ¡992-200$,
Pinakothek der Moderne,
M u n i c h
Monika Baer, Richard Telles
Fine Ar t , Los Angeles
2005
Monika Baer: Paintings and
Works on Paper. ¡992-200$,
Bonnetantenmuseum,
Maastricht
2003
Jager, Galerie Barbara Weiss,
Berl in
Hotel My Room (with Sigune
Sièvi), Ber l in
2002
Monika Baer, Galerie Barbara
Weiss, Berl in
1997
1998
Bonner Kunsrverein, Bonn
Damenwahl (with Paul M c
Carthy) , Portikus, Frankfurt
Monika Baer, La Casa d'Arte,
M i l a n
Monika Baer, Kunsthalle
St. Gal len
Monika Baer, Galerie Luis
Campaña, Cologne
Monika Baer, Galerie Luis
Campaña, Cologne
S E L E C T E D G R O U P E X H I B I T I O N S
2013
Monika Baer, Galerie Luis
Campaña, Cologne
Peter Mertes Stipendium
(with Johannes Wohnseitter),
Das nette Fleisch, after the
butcher, Berlin
Pan und Plan: Monika Baer
und Jochen Klein, Galerie der
Stadt Schvvaz, T i r o l
Ihre Geschichte(n), Bonner
Kunsrverein, Bonn
Chat Jet: Malerei <jenseits>
ihres Mediums, Kunstlerhaus,
Halle für Kunst & Medien ,
Graz
Paperwork: A Brief History of
Artists' Scrapbooks, Andrew
Roth, N e w York
Alternative Entrance, Kunst
bunker—Forum für zeitge
nóssische Kunst, Nürnberg
Teil 2 Family Theater, Kienzle
Ar t Foundat ion, Brandenbur-
gischer Kunsrverein, Potsdam
The Happy Fainting of Paint
ing: Zwischen Bild und Buch:
Materialsammlung Malerei
heute, Zwinger Galerie, Berl in
Monika Baer, Kim Gordon,
Nick Mauss, Mathew Gallery,
Berl in
Cross-Check, Petra R i nek
Galerie, Dusseldorf
Monika Baer, Stephan Dille-
muth, Cordula Güdemann,
Jiirgen Kisch, Gunter Reski,
Dierk Schmidt, Marcus Weber,
Galerie Traversée, M u n i c h
Dorothea, Ancient &
M o d e r n , London
Hysteria, Laughter and a
Certain Sense of Seriousness,
2009
2008
2007
2006
Galerie Gregor Staiger,
Zur i ch ; Karma International,
Zu r i ch
Augusts Lien, Ar tc lub W i e n ,
Hotel Intercontinental, Vienna
Das Potosí-Prinzip, Museo
Nacional de Etnografía y
Folclore, La Paz
Yes or Yes, Yes or Yes 2, Galerie
Nice and Fit, Berlin
SENT BY MAIL Galerie
Barbara Weiss, Berlin
Das Potosi-Prinzip, Museo
Nacional Cent ro de Arte
Reina Sofía, M a d r i d ; Haus
der Kulturen der Welt, Berlin
Paradise Lost—Holidays
in Hell Cent ro Cul tura l
Andratx, Mal lo rca
Harte Gefuehle, Silver Shed,
N e w York
Inside the Tree/The Tree Inside,
Kuns tbunker—Forum für
zeitgenóssische Kunst,
Nuremberg
Cave Painting, Gresham's
Ghost , N e w York
Dos Gespinst—Die Sammlung
Schiirmann zu Besuch im
Museum Abteiberg,
M ó nch en glad bac h
Conflicting Tales: Subjectivity
(Quadrilogy, Part 1), Burger
Col lec t ion , Berlin
Dank an. Galerie Isabella
Czarnowska, Berlin
Round Up, Richard Telles
Fine Ar t , Los Angeles
Cave Painting, P S M Gallen,',
Berl in
Ventriloquist, T i m o t h y Taylor
Gallery, London
Form und Grund, Galerie
Belvedere. Augarten
Contemporary, Vienna
Shandyismus: Autorschafi als
Genre, Kunsthaus Dres
den, Stàdtische Galerie für
Gegenwartskunst, Dresden;
Secession, V ienna
documenta 12, Kassel
Next to kin. Galerie Daniel
Buchholz, Cologne
1995
1993
2010
2012
2on
Beaufort 2006, Kust Brengt
Kunst, Beaufort
The Swan Is Very Peaceful
Richard Telles Fine Ar t ,
Los Angeles
2005
Tauchfahrten: Zeichnung als
Reportage, Kunsthalle
Dusseldorf
FlashBack, Kunsrverein
Freiburg
2004
Tauchfahrten: Zeichnung als
Reportage, Kunsrverein
Hannover
Art and the Afterall Effect,
Play Space Gallery, Cal i fornia
College o f the Arts , San
Francisco
Monika Baer, Sigune Sievi, D]
Mo, Glue, Kunst und Mus ik ,
Berlin
2003
deutschemalereizweitausend-
drei, Frankfurter Kunsrverein,
Frankfurt
Falling Angels, Greene Naftali
Gallery, N e w York
2001
Botschaft, Botschaft, Dusseldorf
2000
Malerei VI, Gaierie M o n i k a
Spri i th, Cologne
1999
Snowflake Office, Greene
Naftali Gallery, N e w York;
Galerie Ursula Walbrol ,
Dusseldorf
Schnellel Polsche noch schnell-
ele Fellali, Galerie Kerstin
Engho lm, Vienna
New Painting from Germany,
Dei tch Projects, N e w York
1997
A Hell of a Change, Kul tur -
huset Stockholm, Sweden
Liberace Che. . . , Galerie
Sabine Schmidt , Cologne
Malerei V, Galerie M o n i k a
Spri i th, Cologne
1995
Derfokussierte Blick, Kleve,
van der Heydt Museum,
Wuppertal
Malerei III, Galerie M o n i k a
Spri i th, Cologne
1994
Karaoke (Fussball-WM),
Portikus, Frankfurt
Zu Besuch, Nicola i /Bochynek,
Duisburg
1992
Galerie Jablonka, Cologne
Galerie Luis Campaña,
Cologne
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c h e n D i s n e y l a n d i m P o r t i k u s :
P a u l M c C a r t h y u n d M o n i k a
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W O R K S IN T H E E X H I B I T I O N
Untitled (Parkhaus), 1990
O i l o n c a n v a s ; 65 x 85 c m
C o l l e c t i o n o f t he a r t i s t
Untitled 1997
O i l o n c a n v a s ; 145 x 290 c m
P r i v a t e c o l l e c t i o n , B e l g i u m
Untitled 1997
O i l o n c a n v a s ; 135 x 300 c m
P r i v a t e c o l l e c t i o n
Untitled (man with hole), 1998
O i l o n c u t c a n v a s ; 190 x 260 c m
C o l l e c t i o n o f G a b y a n d W i l h e l m
S c h ü r m a n n , H e r z o g e n r a t h
Kleine Spritztour, 2001
O i l o n c a n v a s ; 51 x 64 c m .
P r i v a t e c o l l e c t i o n
Jager, 2003
A c r y l i c a n d o i l o n c a n v a s ;
190 x 300 c m
C o l l e c t i o n o f G a b y a n d W i l h e l m
S c h ü r m a n n , H e r z o g e n r a t h
Untitled 2005
W a t e r c o l o r , i n k , ashes , a n d o i l o n
c a n v a s ; 250 x 280 c m
C o l l e c t i o n o f T r a c y a n d G a r y
M e z z a t e s t a
Untitled 2005
W a t e r c o l o r , i n k , ashes, a c r y l i c , a n d
o i l o n c a n v a s ; 250.5 x 280.5 c m
T h e M u s e u m o f C o n t e m p o r a r y
A r t , L o s A n g e l e s , g i f t o f G a l e r i e E v a
P r e s e n h u b e r , Z u r i c h
Vampire* 2 0 0 7
I n k , ashes , a c r y l i c , a n d o i l o n
c a n v a s ; 2 8 0 x 250 c m
B o n n e f a n t e n m u s e u m , M a a s t r i c h t
Untitled, 2 0 0 7 - 0 9
O i l o n c a n v a s ; 98 x 7 4 c m
C o l l e c t i o n o f C a r o l a G o l d i n g
Untitled, 2 0 0 8
W a t e r c o l o r , a c r y l i c , a n d o i l o n
c a n v a s , a n d t h r e a d ; 68 x 4 6 c m
S a m m l u n g V e r b u n d , V i e n n a
Untitled 2 0 0 8
W a t e r c o l o r , a c r y l i c , a n d o i l o n
c a n v a s , a n d t h r e a d ; 9 2 x 73 c m
C o l l e c t i o n o f G a b v a n d W i l h e l m
S c h i i r m a n n , H e r z o g e n r a t h
Untitled, 2 0 0 8
W a t e r c o l o r . a c r y l i c , a n d o i l o n
c a n v a s , a n d t h r e a d ; 103 x 81 c m
C o l l e c t i o n o f J o h n M o r a c e a n d
T o m K e n n e d y
Bay View, 2 0 0 9
W a t e r c o l o r a n d a c r y l i c o n c a n v a s ,
a n d t h r e a d ; 83.5 x 71 c m
C o u r t e s y o f t he a r t i s t a n d G a l e r i e
B a r b a r a W e i s s . B e r l i n
Hole, 2 0 0 9
A c r y l i c a n d o i l o n c a n v a s ;
250 x 2 2 0 c m
F e d e r a l R e p u b l i c 01 G e r m a n v -
C o l l e c t i o n o f C o n t e m p o r a r y A r t
Untitled 2 0 0 9
W a t e r c o l o r , a c r y l i c , a n d o i l o n
c a n v a s , a n d t h r e a d ; 8 6 x 7 4 c m
P r i v a t e c o l l e c t i o n , C o l o g n e
monochrome, 2 0 0 9
O i l o n c u t c a n v a s a n d filter-tip
c i g a r e t t e ; 50 x 4 0 c m
C o u r t e s y o f the a r t i s t a n d G a l e r i e
B a r b a r a W e i s s , B e r l i n
monochrome, 2 0 1 0
O i l o n c u t c a n v a s ; 50 x 4 0 c m
J a n i t a a n d K n u t W i e s e C o l l e c t i o n
up, 2010
O i l o n c a n v a s ; 9 0 x 78 c m
T h e U n i v e r s i t y o f C h i c a g o B o o t h
S c h o o l o t B u s i n e s s
Blaue Karten, 2011
O i l o n c a n v a s ; 8 0 x 6 0 c m
C o u r t e s y o f t he a r t i s t a n d R i c h a r d
T e l l e s F i n e A r t , L o s A n g e l e s
rote Wand, 2011
O i l o n c a n v a s ; 180 x 135 c m
C o l l e c t i o n o t C r a i g a n d L y n n
J a c o b s o n
F R O N T A N D BACK C O V E R S : ledge, 2011
Extended Failure, 2011—12
O i l a n d a c r v l i c o n c a n v a s ;
1 9 0 x 168.5 c m
C o l l e c t i o n o f G a b y a n d W i l h e l m
S c h i i r m a n n , H e r z o g e n r a t h
Untitled 2011-12
O i l a n d a c r y l i c o n c a n v a s ;
180 x 134.5 c m
C o l l e c t i o n o f T r a c y a n d G a r y
M e z z a t e s t a
rear painting, 2012
A c r y l i c o n c a n v a s ; 80 .5 x 65.5 c m
P r i v a t e c o l l e c t i o n , C o l o g n e
rote Wand (4), 2012
O i l o n c a n v a s ; 190 x 168.5 c m
P r i v a t e c o l l e c t i o n
Î had habits ($a), 2013
B o t t l e a n d o i l o n c a n v a s ;
53.5 x 4 0 c m
P r i v a t e c o l l e c t i o n , C o l o g n e
ledge, 2013
O i l o n c a n v a s ; 250 x 2 2 0 c m
P r i v a t e c o l l e c t i o n , C o l o g n e
Untitled 2013
O i l o n c u t c a n v a s , w o o d , a n d
l i q u o r b o t t l e ; 50 x 4 0 c m
C o u r t e s y o t t he a r t i s t a n d G a l e r i e
B a r b a r a W e i s s , B e r l i n
palette, 2013
M i r r o r , a c r y l i c , a n d o i l o n c a n v a s ;
85 x 6 8 c m
P r i v a t e c o l l e c t i o n , C o l o g n e
OPENING
THURSDAY, OCTOBER 24
5 : 0 0 - 8 : 0 0 p . m .
E x h i b i t i o n P r e v i e w
A b b o t t G a l l e r i e s (ga l ler ies 182-184)
6 : 0 0 p . m .
M o n i k a B a e r i n c o n v e r s a t i o n w i t h
L i s a D o r i n
R v a n E d u c a t i o n C e n t e r , S t u d i o C
7 : 0 0 p . m .
O p e n i n g R e c e p t i o n
P r i t z k e r G a r d e n
GALLERY TALKS
MONDAY, NOVEMBER 18
2 : 0 0 p . m .
C u r a t o r i a l A s s i s t a n t R o b v n F a r r e l l
G r i f f i n C o u r t
FRIDAY, JANUARY 10
12 :00 p . m .
A S S I K I . I I C C u r a t o r K a t e N e â a
G r i f f i n C o u r t
T o m B a r n e s . N i c k B a r r o n . R o l a n d
B e r g e r , E z s t e r B o r v e n d e g a n d M a r k
W i g h t , E r i n C 0 n n . 1 l . I g o r D a C o s t a .
D o u g l a s D r u i c k . R o b v n F a r r e l l .
C h r i s t i n a G r e e n , R y a n H a g e m a n ,
D i a n e H a r t . S u s a n n a H e d b l o m .
M i c h e l l e L e h r m a n J e n n e s s . C a r o l
G o l d i n g , Y a u - M u H u a n g . C r a i g a n d
L y n n J a c o b s o n , C a r l K r a u s c . K r i s t i n
L i s t e n M a x M a s l a n s k v . W i l s o n
M c B e e . A l f r e d L . M c D o u g a l a n d
N a n c y L a u t e r M c D o u g a l . T r a c y a n d
G a r y M e z z a t e s t a , J o s e p h M o h a n .
J o h n M o r a c e a n d T o m K e n n e d y .
K a t e N e s i n , T i n a O l s e n . A m y P e l t z ,
I . m i c e I V n d c r g a s t . M e g a n R a d c r ,
H i l l a r v R e d e r . J a m e s R o n d e a u .
D o r o t h y S c h r o e d e r . G a b r i e l c S c h o r .
G a b v a n d W i l h e l m S c h i i r m a n n ,
B e n n e t t S i m p s o n . J e n n i f e r S o s -
L I I Í L . J a s o n Sue R i c h a r d T e l l e s ,
D a v i d T h u r m . P a u l a V a n d e n B o s c h .
K i r s t e n W a n d s c h n c i d e t . B a r b a r a
W e i s s , J a n i t a a n d K n u t W i e s e , a n d
J e f f W o n d e r l a n d . S p e c i a l t h a n k s
t o t h e a r t i s t , I D
P R I N T E D O N C E R T I F I E D R E C Y C L E D PAPER.
T H A N K S