B&W Program - June 5-August 5, 2011

B&W June 5 - Aug 5

Opens Thurs, June 9 7 - 10 pm

Sixth Annual Community Juried Show

Off the Wall Gallery

at Dirty Frank’s

NE Corner , 13th & Pine , Philadelphia

Our Jury B&W would not be possible without the commitment of our jury.

This cadre of gifted artists enthusiastically logged dozens of volunteer hours, reviewing a record number of entries — 337 from 90 artists — as they shaped this exceptional show.

Al Stegeman: artist; professor and coordinator, communication program, Drexel University; flickr.com/people/alsphotography

Diane Podolsky: artist; curator, Twenty-Two Gallery; anniepod.com Jody Sweitzer: artist; instructor, UArts; curator, Off the Wall Gallery; nexusphiladelphia.org/artistpages/sweitzer.html

Eli VandenBerg: artist; gallery store manager, The Print Center; elivandenberg.com

Rick Wright: artist; instructor, Fleisher Art Memorial and Project Basho; wrightartstudio.com

“Our eyes resolve the detail of black and white images

far, far better than they do with color. With that in mind, I can think of no better place to start exploring line, form and the visual nuances of texture than with the elemental black-and-white image.” – Al Stegeman, artist and B&W juror

Visit the Artists Online Justin Bean longlivethecode.tumblr.com Nineteen of Matt Faisetty faisettyphoto.com our 42 artists Leroy Forney paintingsbyleroy.blogspot.com Jedidiah Harley jedidiahharley.carbonmade.com have sites and Dana Jones pencilinpixels.com links where Patricia Kinsman flickr.com/photos/pkinsman you can see Kelly A. Kozma kellykozma.com more work.

Adam Lovitz 1thunk2thunk.com Dan McCartney mcclept.com Stephen Millner flickr.com/photos/8719890@N08 Kit Mitchell flickr.com/photos/jcm2044/sets/72157626739951229 Bill Myers psop1860.ning.com/profile/billmyers Erin Lynn O’Connor erinoface.tumblr.com Gina Patton flickr.com/photos/ginapatton21 Sibylle-Maria Pfaffenbichler mozartandjazz.com Andrea Ragone flickr.com/Andrea_Ragone Ruth Savitz photosofphiladelphia.com Jena Serbu sweetbreadstudios.com Kimberlee Traub kimberleetraub.com

B&W&

beckoning Orson Welles, in failing health, asked a friend for a favor, “Keep Ted Turner and his goddamned Crayolas away from my movie.”

He was talking about a possible encounter (that never happened) between Citizen Kane and the bizarre, short-lived colorization process. But perhaps, in longer focus, Welles was apprehensive about how color had insinuated itself into culture, equating itself with quality, accessibility and even creativity.

Indeed, we are a society that has long undervalued and too readily overlooked black-and-white art — or B&W art, to use the vernacular we adopted for Off the Wall Gallery’s Sixth Annual Community Juried Show.

Yet this palette is an originating force in art that possesses incredible depth and complexity. And we would like to think you can find some indication of its full measure in the virtuosity of the 42 artists of B&W, who challenge us to re-examine black and white as not just palette but part and parcel of their art.

Photography is an easy platform to experience black and white but this show would shortchange its concept if that were the only place we ventured. We’re pleased to welcome a range of media to explore this broad avenue of expression, including pen and ink, graphite, acrylic, gouache, gesso, woodcut, ceramic, foundobject backgrounds and video.

And it is telling that among the photography on display, traditional film, hand-printed in darkrooms, rivals digital output.

Moreover, when the original medium is digital, images have been transferred, collaged, captured and scanned to further stretch the technology now at our fingertips.

In short, these artists have few boundaries, and they invite you to step outside yours and recognize how far black and white can reach. Take a look, now through August 5, and see.

Jody Sweitzer Curator

Togo Travalia Manager

Piyush Arora “Berryman” 35mm photograph archival inkjet print 80. first edition print This photograph is part of an incomplete project titled “Postcards from Home.” It was taken from an auto-rickshaw stalled in traffic on a crowded market road, in Bombay, India — where the rise of shopping malls and organized markets is causing the local vendors to resort to a direct-to-consumer approach at busy street lights. My interest in photography germinated while working at a medical imaging lab as a researcher. I prefer black and white for the drama that unfolds due to the lack of its dimensionality.

John Battle Untitled pen and ink on paper 50.

Justin Bean “Inner Dark” sharpie on paper 250.

Robert Bohné “The Landmark” charcoal on paper 350.

My artistic goal is to produce representational works of museum quality that are easily understood but, at the same time, complex enough to hold the viewer’s interest and invite them in for a closer examination of the composition and the subtleties that make up a successful work of art.

Rachid Bouhouta Untitled acrylic and pastel on canvas 250.

Black and white is the birth of shape.

Robert Critchlow “No EZ Pass” digital photograph 100.

Rene DeSanto “Roses Die” photogram 75. framed 50. unframed As an artist and art teacher, I enjoy making art for art’s sake rather than commercial purposes. As a photographer, I prefer the traditional process to digital. Technology has afforded us limitless and instantaneous possibilities, but the inner creative process that occurs inside the darkroom space is sublime.

The art I create reflects my inner psyche at the time of their creation in the darkroom. Witnessing the transformation of images revealed in the developer is like looking at my own changed reflection in the murky waters they emerge from.

Christine Dreyfus “Coney Island Not Swimming” 120 film photograph silver gelatin print 350. framed 200. unframed (16x20) 75. unframed (inkjet print, 11x14) I became a photographer because I am intrigued by light. Shadows, reflections, sunrises, sunsets, the glow of the sky before a storm all captivate me. My experience of photography changed dramatically when I first entered a darkroom. I now photograph so that I can print.

My passion is hand-printed, black-and-white film photography.

Six years ago, I was introduced to the Holga camera. The medium-format square image, haunting effects and low-tech nature of the Holga appeal to me. Cropping in the camera and printing full-frame bring an “old school” discipline to my work that embodies the timeless beauty of traditional (continued on next page)

(continued) black-and-white photography. My images evoke a

mood that draws in the viewer. They elicit emotions, dreams and experiences.

Historical documentation and preservation are themes in my work. I am interested in what people and societies value — and what they disregard. After hearing of the possible “Disneyfication” of the Coney Island amusement park and boardwalk, I approached my shoot there with a sense of wistfulness for the end of an era. People enjoying the moment, and perhaps reflecting on fond memories, are present in these images.

Matt Faisetty “Order/Chaos” diptych of digital scans archival inkjet prints 125.

JURY CITATION: BEST ABSTRACTION OF B&W

Leroy Forney “Night Bus” oil on board 300.

The painting began as a pencil sketch of a fellow passenger on a night bus, between Frederick, Virginia, and Philadelphia. The reading lights were not working and that seemed to increase the isolation of the individual passengers from each other. This personal solitude, especially as we passed through small towns, is enhanced with an homage to Edward Hopper’s “Early Sunday Morning.”

Karen Frank “Smitten” acrylic on canvas 150.

As I was looking around my home for black-and-white objects to draw and paint, I came across Pee Wee and the Cat in the Hat. I sat them down together on my sofa while I continued my search.

But, as I looked back at them, I noticed that they had rapidly become smitten. Now they remain on the sofa lovingly gazing at each other. Who knew?

Kevin Galloway “Out in the Summertime 2” collograph print 200.

Kevin Galloway is one of two B&W artists, together with Alonzo Troy Humphrey, who comes to us from the unique Oasis Art Center in the Callowhill section of Philadelphia. Kevin’s work was recently selected to be in a juried exhibition about animal mythology at the Pterodactyl Gallery.

Oasis unlocks the creativity of individuals living with mental illness and/or intellectual disabilities. The only organization of its kind in Philadelphia, it empowers students to find and hone their talents in the visual arts. Professional artists and staff offer classes and workshops in various art disciplines and prerequisite life skills, as well as a bi-annual artist residency program. Off the Wall Gallery plans to work with more Oasis students in the future.

Bob Gorchov “Black Wreath” acrylic on canvasette 115.

Like me, sometimes, this painting is somewhat off balance. Although it represents a black wreath, it has drips in it, which seem to say that it’s trying to extend beyond its proper boundaries. It’s painted black so as not to be too cheerful.

Anders Hansen “Four Peaches” inks, gesso, graphite and charcoal on paper 300.

Jedidiah Harley “Husband” digital photograph transparency film on glass plate 100. limited edition (1 of 4)

“Wife” digital photograph transparency film on glass plate 100. limited edition (1 of 4)

(second edition of each plate shown above)

Why do we try to cover up our wrinkles? They are a pleasant sign of age. Signs of age are also signs of wisdom. Actually, wrinkles should be a triumphant sign proving that we have survived thus far, which can be very meaningful. Wrinkles tell a story about life. Some faces are lined with sternness, and others are lined with joy. All these features help the viewer look deep inside the subject and explore their lives.

For this series, I wanted to explore the landscape of age through facial features.

URY ITATION To many younger people, the elderly can be quite intimidating.

This first day of shooting I realized I would have to approach this project with ease. I had to step away from behind the camera and actually connect with my subjects. I soon learned that I was just as intimidating to my subjects as they were to me. As soon as we let our guards down, I was really able to connect with my subjects — asking for different poses, letting me drape a sash on them and listening to their stories.

J C : BEST EXPLORATION OF B&W

Richard Harrington “Parting Ways” pen and ink on paper 350.

I did this piece specifically for this show based on a photo I found on eBay a few years ago. It appeared the man wasn’t enthusiastic about selling his 1950 Mercury.

I love working in black and white. Jaime Hernandez, Hank Ketcham and Mort Drucker are my main influences.

Alonzo Troy Humphrey “Old Man in the Shade” mixed media on paper 60.

Alonzo Troy Humphrey is a 50-yearold man diagnosed with psychosis and paranoid schizophrenia. He attends classes at Oasis Art Center.

Alonzo picked up drafting skills at an early age from his mother who was an artist and teacher.

He also studied art at Community College of Philadelphia in his 20s. Alonzo now resides in a communal assisted living facility and is constantly drawing in sketchbooks and on scraps of paper “to keep [himself] calm and balanced.”

“I draw anything I see, whether it’s pretty or ugly,” he says of his subject matter. “My drawings come from my head and my memories—sometimes memories of places and things that I’ve seen, sometimes memories of other pictures I’ve drawn.”

In addition to his impressive drafting skills, Alonzo has an amazing visual memory, mentally recording everything he sees through the process of drawing and then rehashing familiar imagery throughout his work. He has exhibited at various Philadelphia and New York venues over the years.

Neil C . Johnson “Grace’s Wedding” digital photograph 75.

Dana Jones “Pencil Mouse” graphite on paper 140.

“Winged Rat” graphite on paper 100.

I am eternally fascinated by nature — especially small animals and insects. As a self-taught artist, I mainly draw for my own collection, so I don’t often offer my work for sale.

I do, however, complete commissioned pencil portraits as well, of people and pets, and I’ll say it’s pretty cool to make someone’s day by doing that sort of thing.

I have worked with colored pencils, watercolors, and pen and ink, but I really feel that I can get the most detail when using pencil; it has a more classic effect for me. In a nutshell, I like to replicate what is real. Occasionally there may be some decorative flourish or accent included, but the focus on the subject is always more definite.

Patricia Kinsman “Umbrella Factory Roof” (expired) 120 film photography 75. framed 50. unframed

Kelly A . Kozma “Chart Topper” acrylic, ink and pencil 245.

With “Chart Topper,” I wanted to address the idea of kitsch, which translates as “art of the gutter,” and its integration into modern culture.

Thinking about icons who exhibit these qualities, I kept coming back to Britney Spears and her public meltdowns. The phrases “massproduced” and “gutter” couldn’t be more fitting. Almost immediately I decided to depict the pop singer using a paintby-number technique. I found that this approach, usually designated for unicorns and cottage scenes, achieved the maximum level of irony.

Robert Yong Lee “Fugue” 35mm photograph selenium-toned silver gelatin print 100. (two framed prints available) Black-and-white photography abstracts — enabling us to see line, form, tone and texture without the distractions and associations of color. It’s a great aid to my attempts to convey the resonances, music and sculpture in everyday objects and scenes.

Carla Liguori “The Mob” woodcut print 130. framed limited edition (2 of 4) 100. unframed (two prints available) Basically, this piece is about kangaroos with lots of attitude.

I generally create intuitive and autobiographical work in clay or pencil. I have a particular affinity for animal forms with human characteristics. With its title, this tongue-in-cheek piece refers to the fact that two or more kangaroos constitute a URY ITATION “mob.” The dichotomy of stereotypical mob and a kangaroo mob amused me.

It seems that the individuals in a mob aren’t as important as the collective group. They start to look similar. The stark contrast of the black lines and border against the white background enhance the overall effect.

J C : MOST WHIMSICAL USE OF B&W

Adam Lovitz “Baby Faced” pen and ink on paper 150.

JURY CITATION: HONORABLE MENTION

It’s always the strangest and unfamiliar visions, thoughts and experiences that intrigue me. My practice aims to cut and drain out the depths of the subconscious through mistakes, risks or some other approach that demands a lack of control. In this collapse of order, new and bewildering sensations are discovered through the chosen material’s potential. It is my responsibility to explore methods, or even rituals, that enable me to see the invisible. In this saturated and visually abundant world, I aim to investigate the unseen.

Dan McCartney “The Story of Jazz as Seen by the Third Eye” digital collage with doodles 75.

Don McPartland “Voxish” acrylic and ink on paper 150.

My current portfolio initiates a dialogue about alienation, the nausea of existence and the distortions of perception. Dissonance is used as a tool to disrupt the visual experience and provoke the viewer. Emotion seeks out certain patterns, rhythms and form — to penetrate beyond the superficial appearance of things, creating a state of mind that is disoriented from the outside world.

Stephen Millner “Airstream at Public Storage” digital photograph 145. framed 115. unframed I have always loved the design of the airstream, and this short one is especially attractive. The airstream shows well in black and white, and its position in front of the URY ITATION storage garages shows off its curves.

J C : MOST EVOCATIVE USE OF B&W

Catherine (Kit) Mitchell “Quivering Tree” graphite on prepared paper 145.

Working in black and white is like a palette cleanser after a meal of sumptuous color: Its spare elegance focuses the spirit and the eye on the skeletal essentials of the work at hand. In this particular case, I sought to capture the nervous essence of an October tree that had already lost many of its leaves, while those that remained were shivering in the wind.

Bill Myers “Jim at Home in Alabama” digital collage 150.

This collage combines three photographs I took, creating an intriguing new storyline. Meet Jim!

Erin Lynn O ’ Connor “Christmas at 30 Rock” digital photograph archival inkjet print 150. framed 75. unframed Unable to decide which medium I enjoy best, it’s difficult to focus on a specific one to pursue. I chose photography because I found the greatest challenge to be fixating on one simple image. When that became boring, I forced myself to look slightly out of my comfort zone. It was then I realized the most amazing visuals are equally possible in mundane places as they are in exotic locales. Just look for them. Here I found peace in wherever I choose to be.

Dan Olmstead “Epiphany” digital photograph 60. framed 40. unframed I have been working primarily in art portraiture for over 12 years.

Colorless prints have always been my preferred medium for particularly intimate and evocative photographic moments.

Without the distraction of color, there is a special kind of focus on a photograph’s details — whether they are human or material. That said, I’m not sure I’ve ever worked an entire shoot, until recently, when I was intentionally seeking a black-and-white print. It used to be more of an instinctual reaction to particular photos that clearly said to me they wanted to be in black and white. On my last two shoots, I found myself specifically seeking colorless prints, and both the limitations and possibilities in that process were very intriguing. I’m now looking forward to a lot more experimentation in the future.

Gina Patton “Calla Lilly” digital photograph 100. framed 75. unframed (8x10) 100. unframed (11x14) 125. unframed (16x20) I am a nature, landscape, sports and portrait photographer. I just finished my first year at the University of the Arts, where I am pursuing a bachelor’s degree in photography. I have always enjoyed taking photographs. When I think of photographers and artists I admire, one that comes to mind is Georgia O’Keeffe. I love her works of flowers and wanted to emulate her by creating an image that I could call my own using a flower. When I took this photograph, I looked at the calla lily and its veins and the contrast of the background. This photograph can be appreciated as a flower or as abstract artwork.

Sibylle-Maria Pfaffenbichler “Hawkins on Haydn” gouache on vintage classical sheet music 350.

I enjoy working in the direct and simple technique of black and white. It adds a sense of ambience and works particularly well for renderings of jazz, making it feel as if the musicians are playing in a nightclub, URY ITATION dimly lit save for some dramatic spotlights. I grew up in Austria with classical music all around. For many years, I had to go to piano lessons that were painful because I just couldn’t find my way around a keyboard. Yet the sheet music became an integral part of my youth. Since music knows no boundaries, I paint American jazz musicians right into my classical music books. Working in black and white allows me to achieve great contrast and cut out any distractions. It brings out shapes and movement and communicates a strong sense of design.

J C : HONORABLE MENTION

Andrea Ragone “Pride” digital capture archival inkjet print 80. framed 50. unframed While spending a much needed vacation away from school and work, I quickly got restless in the hotel of Boca Chica, Dominican Republic and decided to venture out. It only took a few blocks for me to reach what seemed to be an entirely new world. I was shocked to find that poverty lives so close to a giant resort. Even though I didn’t know the people personally, seeing the frustration in their eyes touched my heart. The woman in “Pride” — along with most of the individuals I encountered — were without shoes and living in make-shift homes. I felt it was my duty to share her world with mine and hopefully touch others through art.

JURY CITATION:

JUDGES’ CHOICE Gene Renzi

“Atlantic City” 120 film photograph silver gelatin print 200. framed 150. unframed (11x14) When you say B&W to me, the first thing that comes to mind is the darkroom. My excitement lies in capturing a moment of time on film and developing and printing it in the darkroom.

When you see the images come into view, you realize what you have accomplished. You can lose yourself in the darkroom. Things from day-to-day life vanish as you see the images come into view on that once blank piece of paper.

Riikka Salo “Car II” 35mm photograph silver gelatin print 100. framed 80. unframed “Car II” is part of a series takenin abandoned train cars that used to be part of the Reading Branch of the New Hope-Ivyland Railroad. The image depicts the decay over time of the vintage locomotive coaches left behind at the Wycombe station.

Ruth Savitz “Gorilla My Dreams” digital photograph 80. framed 60. unframed I enjoy the challenge of capturing a commonly photographed scene in a light or perspective that makes it distinctive or captivating. Nature photography is a (continued on next page)

(continued) favorite subject and affords me the opportunity to bring out the character and “personality” of animals. As an award-winning and widely published photographer, my work has appeared in museums; magazines such as National Geographic Traveler; local and international newspapers; juried, group and solo exhibitions; and private collections.

Veronika Schmude “Light” digital photograph 100. framed 75. unframed I primarily shoot in color; on occasion I come across and object that beckons to be void of color and shown in its truest essence and grittiness.

Jena Serbu “Guardian of the Nursery” mixed media sculpture 130.

Inspired by my desire to live surrounded by taxidermied animals but a) not being a hunter and b) not being a taxidermist, I have taken to creating simulacras of that which I find both attractive and difficult to attain. This piece is a manifestation of both security and horror — the two most prevalent institutions of the very young.

Peter Smyth “Man before Lamp” charcoal on paper 900.

Once again, my interest in light devoid of color is shown here. The mechanical silhouette of the lamp seems to merge with the male figure beneath the glaring (continued on next page)

(continued) scrutiny of a flood light.

The psychological impact of this vulnerability is set against the muscular power of his physique.

Susan Stromquist “Four Limbs / Four Walls” video 15. DVD Long, charcoal-tipped sticks simultaneously extend the reach of my body and limit my control. While touching all four walls of the whitebox studio, my motivation is simply to make marks. Here, they are unseen — I am the drawing.

I have turned myself into an insect, trying to fill the empty space in all directions at the same time. It speaks to our contemporary daily pace as well as the multiple pulls within an entire life — a desire to realize four full-time occupations: Artist, Day Job, Partner, Mother. I am also Performer, reminiscent of old B&W silent films.

Kimberlee Traub “Industrial Bitch” pen and ink on paper 350.

Victoriana, Art Nouveau, NeoBurlesque, tribalism and ancient mythology are all some of the influences of my pen-and-ink creations. Exploring the spirit through symbolism, counter-culture ideas and all forms of creativity has become essential in the stylized lines of this drawing and many others. Though it began as a matter of convenience, for its portability, black and white has provided me with a way to explore lines and composition in my own style.

Your Support Matters Off the Wall Gallery at Dirty Frank’s is a true nonprofit enterprise. Our commissions cover only a fraction of the resources needed to put on B&W and the six other shows we produce every year. Without our community’s support, this work simply wouldn’t be possible.

With a gift of $30 or more, you can join our Friends of Off the Wall donor program. Your primary benefits? Helping connect yourself and your community to outstanding art and supporting emerging artists who might not otherwise have venues like this to show their work. We will proudly acknowledge your support in future programs. Please drop this form with a cash donation to your Frank’s bartender. Thank you!

I/We would like to make a gift of $_____________________ to Off the Wall Gallery.* Name(s) _________________________________________________________

Address _________________________________________________________

___________________________________________________________________

E-Mail __________________________________________________________ I/We wish to remain anonymous. * Please note that Off the Wall does not have 501(c)(3) status, so you gift is not tax-deductible. For more information about special opportunities for your business to underwrite a specific show, please contact us at offthewallgallery@gmail.com.

Upcoming Shows August 7 – Sept 30

2011 Mid Summer Invitational Opens Thursday, August 11, 7–10 pm

October 2 – December 2

2011 Fall Show Opens Thursday, October 6, 7–10 pm

Thurs, November 10 11:59 pm

Submission Deadline for Seventh Annual Juried Exhibition

December 4 – 28

Seventh Annual Juried Exhibition Opens Thursday, December 8, 7–10 pm

January 8 – March 2

2012 Winter Exhibition Opens Thursday, January 12, 7–10 pm

March 4 – April 20

Mary Liz Memorial Masters Exhibition 8 Opens Thursday, March 8, 7–10 pm

April 22 – June 1

2012 Spring Show Opens Thursday, April 26, 7–10 pm

Juried Shows at OTW “How can I get into one of these shows?” is a question we often hear. In addition to reviewing portfolios all year long, our two annual juried exhibitions, each spotlighting a distinct theme or medium, welcome many new members to our vibrant, and growing, community of artists.

This show, our Annual Community Juried Show, always has a May deadline and runs from June to August. It is free to enter but limits submissions to five works per artist. Our Annual Juried Exhibition, which closes for submissions this year on November 10 and is up in December, carries an entry fee of $5 per work but also offers cash prizes of up to $500 and the coveted Mary-Rowe Memorial Jury Prize. We haven’t yet chosen a theme for the yearend Juried Exhibition, but if you want to be in the loop when we do decide, please join our mailing list by signing up in person or at offthewallgallery@gmail.com.

Mid SINVITATIONAL ummer 8.07 9.30.11

Featuring work by top-selling and award-wining artists from 2010-11

OFF THE WALL

offthewallgallery@gmail.com

Oct 2 to Dec 2 2011

FALL SHOW