2021 Works on Paper by LBIF

LONG BEACH ISLAND FOUNDATION OF THE ARTS AND SCIENCES 2021 WORKS ON PAPER

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Thanks for putting art in the heart of the community Bank of America recognizes the Long Beach Island Foundation of the Arts & Sciences for its success in bringing the arts to performers and audiences throughout the community. We commend you on creating an opportunity for all to enjoy and share a cultural experience. Visit us at bankofamerica.com/newjersey.

2021 WORKS ON PAPER Welcome to 2021 Works on Paper Saturday, June 12 -Monday, July 5

“Works on Paper” 2021, the 23rd Annual National Juried Competition and Exhibition, launches our summer season at the Long Beach Island Foundation of the Arts and Sciences.

Thank you to all the artists whose work we applaud today. They have provided us with reminders of the beauty, complexity, abstraction and a moment in time of the visual world around us.

We are pleased to present the artwork of forty-one artists who live and work across more than twenty states across the US. The variety of media eligible for submission included drawing, painting on paper, hand pulled prints, photographic prints, digital works on paper, and paper constructions completed in the past two years for consideration.

This year we are honored to have as our juror Lanka Tattersall, Curator of Drawings and Prints at the Museum of Modern Art, who lends her exceptional expertise to selecting the artwork for this exhibition and to the awarding of prizes. We truly thank her for her support and her curatorial vision.

This exhibition, more than any other in memory, truly celebrates experiencing art in the “real” world as we emerge after more than a year in isolation. Although the “virtual” art world on-line has been palliative and to a degree satisfying, nothing can replace the immediacy and “in person” visual experience of seeing a work of art with our own eyes.

A special thank you goes to Tracey Cameron and Katherine Whitlock for the design and creation of this catalog. In addition, we are grateful to Gail Sidewater as Co-Chair of Arts and Exhibitions and to our Art Exhibition Committee members who work tirelessly to organize and present robust and diverse art exhibitions, lectures and programs each year.

Scale, color, texture, light, do not have the same impact when translated to a screen. We need intimacy and the creative spark art provides to nourish our souls and imagination.

We are grateful to Bank of America as Presenting Sponsor of this exhibition for their support, the exhibition catalog as well as for our art exhibition program this season. Bank of America’s support of the arts is unwavering and is especially appreciated during this difficult time.

The Works on Paper exhibit provides the opportunity to acknowledge the talent, innovation and individuality of seventy art works and the intangible relationship that forms between the work and the viewer.

In addition, this exhibition, catalog, and all of our arts programming is made possible by the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts.

The LBIF was established in 1948 as an institution whose mission was to foster the highest level of the arts and to bring artists, educators, and patrons together to celebrate art as a passion and a driving cultural force.

Daniella Kerner Executive Director LBI Foundation of the Arts & Sciences lbifoundation.org

Front and back cover credit: 2020 3rd Place winner, Lisa Brody. Stone Wall and Overgrowth. Ink on Japanese paper. Copyright © The Long Beach Island Foundation of the Arts and Sciences. All rights reserved.

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About the Juror

Lanka Tattersall, is the

Senior Curator in the Department of Drawings and Prints at MoMA. Prior to 2019, Tattersall was Associate Curator at The Museum of Contemporary Art, Los Angeles, where she organized the exhibitions, and initiated the forthcoming survey of the work of Tala Madani. Tattersall also oversaw MOCA’s Emerging Art Fund acquisition group. From 2010 to 2014, Tattersall was a curatorial assistant in the Department of Painting and Sculpture at MoMA, where she was an integral part of the curatorial and editorial teams for the touring retrospective and accompanying monograph Alibis: Sigmar Polke 1963–2010. Tattersall received a BA in the history of art and architecture from Wesleyan University; an MA in modern art and curatorial studies from Columbia University; and an MA in the history of art and architecture, modern art from Harvard University and currently a PhD candidate in the history of art and architecture, modern art at Harvard University. Ms Tattersall’s responsibilities include participating in the Museum’s acquisitions program, the installation of the collection galleries, and the development of special exhibitions and catalogues.

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Experimentation and observation are key through lines in the selection of art brought together in Works on Paper 2021. Reviewing the expansive range of submitted works, I was struck by the myriad ways in which artists continually push boundaries, ask new questions and generally transform how we make sense of the world. A number of works in this selection blur the lines between abstraction and figuration, an approach that several artists use to pose urgent questions about social justice. Another connecting thread is an experimental or open-ended approach to language. Some artists embrace ambiguity or uncertainty, either through the process by which a work was made, or as the subject in a work itself, or both. Particularly in the midst of the ongoing pandemic, and after a year of immense loss and transformation around the globe, the works assembled speak to a shared desire for art to provide a space for critical inquiry, complexity, pleasure and reflection. Lanka Tattersall Curator Department of Drawings and Prints The Museum of Modern Art

Artists Use in giving Watercolor, graphite, ink on paper

1 J.L. Abraham Language and color are my subjects. As a printmaker, I paint through printing, and turn language into pattern. As a painter, I thread through printed grids where the shades of color make statements all their own. jlabrahamprintmaker.com

With You Metallic c-print (digital, trad drawing techniques in Krita)

Entangled Ink on paper

That hope and that interpretation Watercolor, graphite, ink on paper

3 Kathleen Andrews The subjects of my work interact with each other and with their inner selves. Human entanglements can be messy, but people can find joy in simply living. I take my inspiration from observing how people relate to one another, for better or worse.

4 Joey Archuleta My intent is to explore subway writing, also known as graff, and its potential for guidance as a valid marker in the chronology of visual arts movements. Instagram: @ scea_ter_ian Red weakens an hour Watercolor, graphite, ink on paper

The Debate / Difference of Opinion Metallic c-print, original, ink gel, pens, book pages

Grape Still Life Spray paint and graphite on paper

2 nessi alexander-barnes I am a trans, queer, nonbinary, neurodivergent person who is used to operating out of an absence of representation. My work is composed from a personal iconography with original characters initially designed before I knew what queerness was. Those characters have changed as I have changed. apocryphabulous.com

Grape Still Life Spray paint and graphite on paper

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Works on Paper 01.03.21 Gouache on paper

5 Dalya Bain I seek value in things we often take for granted. As a result, I have become enamored with nature and its ability to survive and exist through the toughest times. I transform my fragmented nature memories and transform these impressions into forms and color. dalyabainart.com

01.07.21 Gouache on paper

My reflection in the Computer Screen Excerpt from an appropriated book, collage, mixed media

Constitution, from Documents of Freedom Ink on paper

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Declaration, from Documents of Freedom Ink on paper

Untitled Ink on paper

6 Miriam Bisceglia When I create art, I am searching for anthropomorphic patterns that can be found in nature, in a stone wall, or even a flatbed truck. I empathize with my subject matter and observe from a place that activates my senses. miriambisceglia.com

7 Martin Brief My works on paper are made slow and meticulously-- a process that is fundamental to the conceptual and formal development of my work. I reference the meditative work of scribes and monks. This and sustained focus is one of the reasons these drawings are able to provide a point for respectful and thoughtful conversation. martinbrief.com

Chorus Ink on paper

Untitled Ink on paper

8 Heather Brown My approach to drawing is imaginative and improvisational, and my images develop through empathetic play. I think about my drawings, especially figure drawings, like playing with dolls. There is a vicarious expression of self that inhabits a psychological space which becomes nightmarish, perfunctory, and funny. heatherbrownstudio.org

Artists 9 Claudia Carlson My paintings capture moments of psychic unsureness. Through my work, I meditate on moments of turbulent stillness. Cleaning Ears Soft pastel on paper

Your Serve! Oil on paper

Virus Alphabet 3 Infection Colored pencil on paper

10 Dana Chodzko My work is based in form and language, often manifesting as invented alphabets in many different mediums. I like to scribble with pencil in a sort of manic fashion. Complex ideas are conveyed through simple, symbolic forms, though the process of drawing becomes very athletic if I draw for extended periods of time. danachodzko.net

Reach Out First Black paper, watercolor, color pencil, chrome paint, cold wax

Virus Alphabet 5 Antibody Colored pencil on paper

American Tastes for Udon Soft pastel on paper

Elements of the Motherboard #7 Oil paint with collage elements on paper

11 Mara Clawson I work until the colors get along. I work with soft pastels and draw on my iPad to convey my perception of the world. My process gives me courage and allows people to see my positive outlook. maraclawson.com

12 Marieken Cochius I am fascinated by growth forms, root systems of plants, movements of microscopic organisms, seedpods, and animal architecture. In these I see a sensitive unpredictability that contains and propels the energies of life. I aim to evoke the mystery and power of nature and explore the porous boundary between perception and experience. mariekencochius.com 13 Luz Mariel Donahue Working with darkness has been cathartic. To acknowledge the shadows we all have within and to allow thoughts or feeling to arise from them without a label has been significant to my process over the past year. luzdonahue.com

String Together Little Joys Black paper, watercolor, color pencil, chrome paint, cold wax

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Works on Paper Praying Women Monoprint

14 Antoinette Ellis-Williams My creative process is based on the idea of layering, recycling, and reimagining. My work is a commentary of the textured lives of marginalized people. I create pieces as a way of unpacking rage, pain, contradictions, beauty, agency and joy while trying to understand the complex narrative of blackness. antoinetteelliswilliams.com

Chaos or Communitiy Series #2 Monoprint, ink on paper

What’s Wrong? Watercolor on paper, acrylic box, bristol paper

Ballerina Acrylic on paper

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Microchimera 1 Vandyke with DASS solvent transfer on Stonehenge paper

Philological Psong Mixed media on styrene paper

15 Brianna Eng My work is about the value of genuine human relationships explored through mail interaction, business cards, zines, and other forms of paper. I love the magic of pieces of paper traveling across the world, from my hand to your hand, through unknowns and back again. briannaeng.com

16 Shelley Feinerman My paintings are whimsical in nature and characterized by bold colors, simplified shapes, and a shallow depth of field. The essence of the work is gleaned from years of keen observation, the imagination, and the mystery of creating light and dimensionality on canvas. shelleyfeinerman.com

Fountain Watercolor and graphite on paper

Local Territory Collage / hand printed mulberry paper on ink wash drawing

17 Morgan Ford Willingham Inspired by the personal journey of witnessing a child grow from birth through childhood, the imagery in the series (micro)chimera utilizes photographs of an evolving body and drawings by a developing child. The self-portraits seek to document the experiences of two individuals who are part of one another. morganfordwillingham.com 18 Vincent Hawley My current work deals with the intangible elements of language, space, and time coupled with tangible shapes, materials and textures. I create my own words and language symbols to see how these characters relate to each other in both physical space and internal perception. vwhstudio.com

19 Nathan Heuer My work is largely concerned with the role of architecture in society as a symbol of cultural value. While we celebrate the achievements of our celebrity architects, we are less apt to acknowledge the achievement inherent in our more utilitarian structures due to our aggressive consumerist society. heuercadostudios.com

20 Holly Hughes Inspired by study of historical and decorative arts traditions, in particular ceramics and textiles, I make simplified and abstracted codes to invoke the natural world and our relationship to it. Particularly during the Covid lockdown, my approach to painting has shifted to allow for more uninterrupted experimentation. hollyhughesartist.com

Artists La Preuve Monoprint

Supplies for Painting Acrylic on Fabriano paper

The wind Pipecleaner, blue tape, colored pencil, acrylic paint on paper

21 Yasmine Iskander My art expresses my feelings about the happy moments in my life, but also about the difficult times I have had-- especially my many heart and brain surgeries. As a deaf artist who wears hearing aids, I know that there are many ways to communicate. Colors are the most direct and powerful.

Succession of Bestial Acts 15 sheets of dry point on paper, color paper

A Map Charcoal, Sharpie, graphite on paper

Post Maria XII- Watercolor Watercolor on archival paper

Magnet Acrylic on Fabriano paper

22 Kosuke Kawahara I explore meditative moments of instability and ways to confront fear which is rooted in the volatile nature of my experience of the 2011 Fukushima earthquake / nuclear disaster. This environment cultivated my understanding of coexistence with nature, allowing me to accept impermanence and imperfection in my own process. kosukekawahara.org

23 Kyum Bee Kim I am interested in linguistic elements of signs and icons from weather charts. Weather is like an emotional status of the earth. I explore how weather charts visually connect to human society. Since each abstract symbol and icon indicates movement, direction, speed, and status, I utilize them to represent boundaries and connections in our community.

Post Maria III Watercolor Watercolor on archival paper

24 Suzy Kopf Between 1947 and the early 1970s, real estate developers the Levitt Brothers built more than 140,000 houses in towns they named after themselves in New York, New Jersey, Pennsylvania, and Puerto Rico. The series of watercolor paintings was inspired by two trips I took to Puerto Rico’s Levittown, a suburb of San Juan both pre and post Hurricane Maria. These well-preserved homes have largely been saved by their owners and still stand as both a testament to the USA’s ongoing colonialism of the Caribbean and a physical embodiment of a cross-cultural version of the American Dream of homeownership of the masses. suzykopf.com

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Works on Paper Post Maria XI Watercolor Watercolor on archival paper

LadyHair #6 Paper collage on canvas

blue totem Mixed media on board

totem 3. MAP LINE PAINTINGS painting

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Untitled (Dining Room) Gouache

25 Leslie Lanxinger I reference parallel moments in history that act as prevalent, relatable examples of human nature, from 13th century monks doodling in the margins of their transcript, to the dance of La Carmagnole, as described by Dickens. My work is focused on observing human effects of society upon the human psyche-- the pain, the humor, the perseverance, absurdity, gothic surrealism, and unflinching honesty. leslielanxinger.com 26 Stacey Lawrence I find it fascinating to explore where intentional and experimental efforts merge. I have found that by relinquishing control and momentarily detaching, my creative process is heightened, and my artistic expression is honest. Texture and color persuade my choices. staceylawrenceart.com

27 Erica Lee I investigate the self’s relationship with place and technology. In the past year, I have been particularly interested in how our digital lives have influenced our concept of ourselves, the constructs we choose to keep, and our psyche. I create artwork that explores the absurd, recontextualizes memory, and navigates the Post-Internet Age. ericareedlee.com

Untitled Acrylic on Arches

Man Listening To The Wind Enamel and oil-based marker on paper

Two Meatpacking Workers Take a Much Needed Smoke Break Enamel and oil-based marker on paper

28 Curt LeMieux I am known for creating works that suggest a tension between fragility and strength: works that are at once ephemeral yet anchored with a sense of permanence. My goal is to articulate a visual language that promotes inquiry into human behavior and ecology. I deliberately remove large portions of my work. The brutal and direct reduction of format reinforces the repressive processes in cultural memory. It’s in the not knowing, the attempt at knowing, that a host of real possibilities occur. curtlemieux.com

Artists plastic sawdust 1 High density polyethylene (HDPE), tape, paper

29 John Masello I am exploring the infinite manifestations of camp and anchoring my endeavors through queer theory that attempts to define it. I have been weaving together different ideas of camp thought into a nexus that locates instead of defines. My recent work has used these different facets, expressing that humorous yet unsettling sense of “off-ness” through material identity and interactions. My practice locates the nuances of artifice and queerness. johnmasello.com

Average Subject / Medium Distance 4200 (Correct) Archival pigment print

Average Subject / Medium Distance 4205 (Normal) Archival pigment print

Average Subject / Medium Distance 4201 (Appropriate) Archival pigment print

Arrythmia Silverpoint on blue casein-prepared paper

DEATH OF A PIG Oil on paper

30 Andy Mattern My work is a meta commentary on the rules and tools of photography inspired by the once-ubiquitous “Kodaguide.” I wanted to see what lay beneath their recommendations, so I collected and photographed as many Kodaguides as possible. I then digitally obscured all the example images, leaving only a single word remaining in its original location- a springboard for interpretation. andymattern.com

31 Tom Mazzullo All of my work is done from observation, and each drawing is a record of the struggle to understand something about the specific object sitting in front of me. Silverpoint demands patience, and it offers a connection with those artists who first turned to the natural world to inform their work. tommazzullo.com

32 Edward Mills My tools in painting are line, shape, value, color, and texture. Painting can reveal and provide form as well as act as a signifier. Materials in painting can be illuminated to show degrees of smoothness, coarseness, grain consistency, and weave or elasticity. The relationship between light, surface, and texture can be implied, stimulated or hidden. eimills.com

UPRISING Oil on paper

33 Martina Nevado With my art, I want to make it known to the world the immense variety and beauty of my Peruvian heritage. My work is a connection with the past and aims to amaze the viewer not only because of the richness of this culture but also with the diversity of materials and techniques that I create. martinanevadodesigns.com

INKA MASK Mixed media, glue, paper, plastic bags

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Works on Paper Laundry, NYC Pastel on Wallis paper

34 Beth Peck I have been a children’s book illustrator for 30 years and have continued to study figure drawing at the Art Student’s League, the National Academy of Design, and the Private studio of Burt Silverman. I think of my work with tattooed women as signifiers of storytelling as tattoos have become an art form of personal history. I am also visually moved by small work spaces. bethpeckillustrations.com

Benny in Process, NYC, Laundry Pastel on Wallis paper

Recurrent Drama in this Twilight Zone Oil pastel and charcoal on silkscreen paper

New eyes, arriving just in time Oil pastel on silkscreen paper

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To: The Autumn Charcoal, gouache, tape and acrylic on silkscreen paper

The Other David Woodblock

35 Ellen Phillips I explore the concept of multiples and shifting perspectives through works on paper, sculpture, video and text. My works concentrate on layering material and image to build narrative relationships. I explore observations of intimacy within my own quotidian life, and construct moments of reflection that span from the real to the abstract.

36 Kelly Pontoni I am a print-maker. The exploration, mystery, and repetitiveness is what attracts me to this medium. The labor of the process has been coupled with my content. I focus on LGBTQ issues and the history, with an emphasis on the AIDS crisis now and in the past. I believe the struggle as a 50 year old lesbian, in my own identity and past, is expressed in my process. There are many issues that we all have to deal with today in society, and I believe I have a responsibility to express them through art.

Covid VS AIDS Screenprint, ink and handmade Kozo paper

Blue Gradient, Square Knot Watercolor and colored pencil on Arches paper

37 Morgan Shankweiler My work has changed with the world over the past year. I find myself drawn to a meditative mark-making practice of drawing ropes and a playful practice of experimenting with the connection of rope and knot segments in a two-dimensinal ‘puzzle.’ Each knot or loop indicates a human connection that holds a ‘net’work of people together. morganthomasshankweiler.com

Artists (drawing) breath (drawing) near #1 Liquid graphite, ink, soap, water and breath on paper

Mother Ink and watercolor on synthetic paper

two bef tacos Acrylic on paper unframed, pinned to wall

38 Bethany Taylor My drawings are made in a large part by chance. They embrace the uncontrollable properties of liquid, graphite, ink, soap, and breath on paper. The relentless and tragic stories of love, isolation and loss during this past year of Covid haunt me as I continue to recover ever so slowly from my mother’s passing. bethanytaylor.net 39 Maureen Vachon My current body of artwork is loosely inspired by Mary Shelley’s novel, Frankenstein. My ink wash paintings explore the role of chance in the creative process which led me to consider the nature and the purpose of human creativity. maureenvachon.com

pan de reyes Acrylic on paper unframed, pinned to wall

Rube Goldberg Lithography, screenprint, watercolor, handmade paper

41 Erin Wohletz I am a printmaker, draftsman, and painter interested in the variety of print processes. This piece is based in Mezzotint-- a process known for deep velvety blacks and torturous nature. My prints is taken from a series of visual essays about my battle with nonbinary queerness. ewohletz.com

40 Paul Valadez DIY images from an impoverished border community fascinate me. I was born in California to a Mexican American Family. I find that certain individuals tend to label me and my work; I have been called a Hispanic, Chicano, Latino, Mexican-American, Californian, Texan, but rarely just an American Artist. The difficulty arises when viewers see a label and associate it with a certain “type” of art production. paris1920.com

abierto Acrylic on paper unframed, pinned to wall

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2020 Awards

Heidi Hogden 1st Prize

It may be necessary to find shelter for protection from the elements graphite on paper, 2019 Juror Sarah Suzuki, Curator of Drawings and Prints, The Museum of Modern Art

This drawing reflects on the idea of habitation and how we encounter the world around us. As a visual artist, I look towards the natural world to understand the relationship between place and identity through drawing. Heidi Hogden received a BFA in painting from Minneapolis College of Art and Design in 2008 and an MFA in studio art from the School of the Museum of Fine Arts, Tufts University in Boston, MA in 2012. Her primary research interests include human-induced environmental changes as they relate to location, the examination of the natural world through visual art, and the sampling from historical artworks, techniques, and subjects through a contemporary lens. Hogden is an Assistant Professor of Drawing at Arizona State University in Tempe, Arizona. heidihogden.com

2nd Prize Quarantine Still Life Collage on watercolor paper: acrylic, inkjet image transfer plus acrylic gel skin

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Bethanie Irons

This image is a part of a series of digital illustrations in which I explore the tradition of vanitas still-life painting. Each image contains symbolic items pertaining to time, death, life, cleanliness, play, boredom, pleasure, chaos, monotony, and hope. Our current moment in history is tenuous at best, horrifying, and exceedingly fragile. Through these images, I filter this experience with the acceptance of change and an urgency to find joy in the present. bethanieirons.com

3rd Prize Stonewall and overgrowth Ink on Japanese paper

Honorable Mention Troop Watercolor on paper

Honorable Mention Stacy the Welder Oil on paper

Lisa Brody

The scenes that preoccupy me are places that I know and care about intimately, that have become part of the texture of my everyday consciousness. My painting builds in the same way, one stage at a time, forward and backward, over and under, simple and complex, mundane and mythic. There is a longing for these places, a longing to paint them, a longing to know them, a longing to be in them. The paintings are windows into places of possibility, desire, and yearning. lisabrody.com

Rebecca Kautz

Troop is a part of a series exploring Girl Scouts and concerns of acceptance and belonging. I became interested in Girl Scouts after a Memorial Day parade in 2018, watching flag carrying girls in uniform walking behind Boy Scouts in a somber parade. I wondered if they do empower girls and what Girl Scout’s means in the era of “Me Too.” rebeccakautz.com

Suzanne Schireson

My paintings depict nocturnal women who convert domestic spaces into artist studios. I started painting “she-sheds,” tiny structures where women craft, garden, drink wine, or read. My paintings depict new mothers, often nocturnal women who multi-task in marginal hours of the day. At the core of my imagery is a focus on the cycle of transformation one undergoes through giving birth and an awareness of mortality. suzanneschireson.com Works on Paper 13

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