A great man is one who collects knowledge the way a bee collects honey and uses it to help people overcome the difficulties they endure - hunger, ignorance and disease!
- Nikola Tesla

Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.
- Franklin Roosevelt

While their territory has been devastated and their homes despoiled, the spirit of the Serbian people has not been broken.
- Woodrow Wilson

Zoran Mojsilov

Zoran Mojsilov was born in Belgrade, Yugoslavia in 1955. As a small child, he carved his own toys out of scrap wood and was adept at drawing and painting. In early adolescence he began Greco-Roman wrestling and continued this practice into his mid-20’s. He credits the discipline of training, an understanding of the skeletal muscular forms in the human body, and the spirit of competition in sports and life as primary factors for creating art today.

Mojsilov left Belgrade in 1983 for Paris, France to test his artistic credibility. In 1984, he met Ilene Krug, an American Artist, at Association Confluences. After two productive years there, they decided to move to Minneapolis in 1986.

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Once in Minneapolis, Mojsilov made large scale sculptures in wood using the assemblage process that he had started in Paris. His career developed steadily with recognition from local and national grants such as the McKnight Artist Fellowship in 1987, the Socrates Sculpture Park / Athena Foundation Award in 1988 and 1990, the Pollack-Krasner Foundation Artist Fellowship in 1990, the Minnesota State Arts Board Artist Assistance Fellowship in 1994, the Bush Foundation Artist Fellowship in 1996, and the Jerome Foundation, Travel and Study Grant in 1993 and 2001.

Mojsilov had a sculptural break-through in 1990 when he was an artist-in-residence at La Vie des Formes in Chalon-sur-Saône, France. In this French shipyard, he took up welding and made sculptures in stone and steel. Mojsilov continues to use these durable materials in his public art projects to this day. They include: the Metropolitan Regional Arts Council High Bridge Park, St. Paul in 1995, the Minneapolis Arts Commission, Camden Gateway Project, Minneapolis in 1996, the Minnesota Percent for Art in Public Places, Rochester Community & Technical College in 1997; the Dallas Area Rapid Transit, Dallas TX in 1998; Wisconsin Percent for Art in Public Places, U of WI at Stevens Point WI in 1999; Kirchbak Sculpture Garden, Richfield MN in 2000; North Dakota Museum of Art, Grand Forks ND in 2000; Spirit of Milwaukee Neighborhood Millennium Art Initiative, Milwaukee WI in 2000; Nebraska Percent for Art in Public Places at Wayne State College in Wayne NE in 2002; the Anderson Center for Interdisciplinary Studies in Red Wing MN in 2006.

From: Bockley Gallery


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People Directory

Krinka Vidaković-Petrov

Dr. Krinka Vidaković-Petrov - scholar, professor, translator and diplomat. PhD in Comparative Literature. Currently senior fellow (full professor) at the Institute of Literature and Art in Belgrade. Fields of interest: comparative literature and folklore, Balkan and Serbian studies, emigrant culture, Hispanic and Judaic studies, literary translation, Holocaust studies. Author of several books and numerous contributions in academic journals in Serbia and abroad. Served as ambassador of Serbia in Israel (2001-2006).

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Publishing

Notes On Ecumenism

Written in 1972 by St. Abba Justin Popovich, edited by Bishop Athanasius Yevtich, translated from Serbian by Aleksandra Stojanovich, and proofread by Fr Miroljub Ruzich

Abba Justin’s manuscript legacy (on which Bishop Athanasius have been working for a couple of years preparing an edition of The Complete Works ), also includes a parcel of sheets/small sheets of paper (in the 1/4 A4 size) with the notes on Ecumenism (written in pencil and dating from the period when he was working on his book “The Orthodox Church and Ecumenism”; there are also references to the writings of St. Bishop Nikolai [Velimirovich], short excerpts copied from his Sermons, some of which were quoted in the book).

The editor presents the Notes authentically, as he has found them in the manuscripts (his words inserted in the text, as clarification, are put between the slashes /…/; all the footnotes are ours).—In the appendix are present the facsimiles of the majority of Abba’s Notes which were supposed to be included in his book On Ecumenism (written in haste then, but now significantly supplemented with these Notes. The Notes make evident the full extent of Justin’s profundity as a theologian and ecclesiologist of the authentic Orthodoxy).—The real Justin is present in these Notes: by his original language, style, literature, polemics, philosophy, theology, and above all by his confession of the God-man Christ and His Church. He confesses his faith, tradition, experience and his perspective on man, on the world and on Europe—invariably in the Church and from the Church, in the God-man Christ and from Him, just as he did in all of his writings and in his entire life and theologizing.