Mary Liz Memorial Masters Exhibition 9 Brochure

Ninth Annual Mary Liz Memorial Masters Exhibition

Robert Bohné

Matthew Green

March 3 – April 12, 2013

M L M M E 9

J im Montgomery Off the Wall Gallery NE Corner,

13th & Pine

at Dirty Frank's @OTWDirtyFranks

Our 2013 Calendar April 14 – May 31 Thursday, May 9 11:59 pm June 2 – August 2 August 4 – September 27 September 29 – November 29 Sunday, October 13 Thursday, November 7 11:59 pm December 1 – 28

2013 Spring Show Opens Thursday, April 18, 7–10 pm Submission Deadline for feastyoureyes Eighth Annual Community Juried Show feastyoureyes Eighth Annual Community Juried Show Opens Thursday, June 6, 7–10 pm 2012 Midsummer Show Opens Thursday, August 9, 7–10 pm 2012 Fall Invitational Show Opens Thursday, October 4, 7–10 pm Sunday with the Masters Hands-on Workshops, 12–3 pm Submission Deadline for Ninth Annual Juried Exhibition Ninth Annual Juried Exhibition Opens Thursday, December 5, 7–10 pm

(cover) Robert’s Cash Only & Night Out; Matt’s Xanadu & Kearny; Jim’s Hitoshi & Tesla’s Journey

Spring Show ‘13

Heather Raquel Phillips Al Stegeman 4.14–5.31

Al’s “Beyond the Doorway” (triptych)

Inspiring Generations

Everyone has a different story—often a pretty entertaining one—about how they first found Dirty Frank’s and Off the Wall Gallery. If you’re an artist or art lover and discovered us anytime between the late-70s and the turn of the millenium, Mary Liz is likely a key player in your tale.

How could she not be? Mary Liz Connelly (though she hated to use her last name) was the founding director of Off the Wall from its first show in December 1978 until her passing in October 2004. Over the quarter century between, Mary Liz gave a leg up to dozens of emerging and established artists with few other venues to show their work. In the process, she forged a pioneering alternative art model for non-gallery spaces around the city. Within our community, she established a more vibrant crossroads of creative discourse.

Usually perched at a corner of the bar—receipt book in hand, a hat cocked to one side of her petite head and, in later years, wraparound sunglasses staving off the lingering effects of a botched eye operation—Mary Liz scouted new talent and new buyers like a mother hawk.

For Mary Liz Memorial Masters Exhibition 99, three exceptional artists have flown back to us for six weeks of unforgettable art. Among our 2013 Mary Liz Fellows, we see not just talent but the delineation of three distinct generations of Off the Wall artists.

Jim Montgomery Montgomery, an early Mary Liz discovery, continues to amaze us with his deft touch and versatility. He excels in perhaps the most demanding brand of painting, egg tempera, and its equal in the 3D world, kinetic sculpture and mobile art.

Robert Bohné was established but just arriving at Off the Wall during Mary Liz’s tenure. His magnificent plein air paintings, often of distant settings, were the first on our scene. For this show, he shifts to Philadelphia venues, and indoors to a life drawing studio he loves: right here at Dirty Frank’s.

Matthew Green is of the generation of artists who have connected to Off the Wall through our juried exhibitions but his story is similar to Jim’s and Robert’s. He spent many nights hanging out at Frank’s before his masterful canvases found their way to our Wall.

These artists remind us of why we do what we do: this art deserves a bright spotlight and a bigger audience. Which brings us to you. You complete the picture. Without your welcoming receptions and devoted support across 34 years, we simply wouldn’t be here. Just as Mary Liz once did, we thank you and look forward to seeing you again very soon. Cheers!

Jody Sweitzer Togo Travalia Curator Manager

Our Mary Liz Fellows

We're proud to welcome Robert and Matt , who join 19 previous Mary Liz Fellows, and to welcome back Jim, who was first a Fellow in 2010. Jim joins Bob Jackson as the only individual to have twice held this honor. Our history also features two instances of Masters across two generations: in 2007, Raphael Tiberino followed in the footsteps of his mother, Ellen Powell-Tiberino, posthumously honored in 2005, and in 2011, Michael Guinn was named a Fellow the year after his son, David.

2005 Ellen Powell-Tiberino Jerome Robinson 2006 Clark DeLeon Jim Ferrell Bob Jackson 2007 Raphael Tiberino Wayne W. Urer 2008 Huston Ripley Jesse Vandenburgh Rob Willis 2009 Bob Arufo Bob Jackson

(from top) Gabriel Tiberino’s artwork for the inaugural MLMME postcard; work by Bob Arufo, Rick Wright and Michael Guinn.

2010 David Guinn Jim Montgomery 2011 Michael Guinn Alice Meyer-Wallace Jack Thompson 2012 Phil Sumpter Marlise M. Tkaczuk Rick Wright 2013 Robert Bohne Matthew Green Jim Montgomery

Robert Bohné

Several nights a week , armed with pencil and sketchbook , Robert Bohné takes his place at a barstool or booth in Dirty Frank's .

His goal is to capture the gestures, expressions and personalities of the eclectic mix of businessmen, workers, amateur drinkers and seasoned barroom philosophers that call Frank’s a second home. He wouldn’t have it any other way. Bohné prefers the down-to-earth, unpretentious atmosphere when searching for the inspiration that will evolve into a finished drawing, the occasional barroom painting or a whimsical sketch drawn directly on Frank’s well-worn formica bar. Familiar and comfortable with Bohné’s compulsive desire to sketch constantly, regulars will occasionally stop by for a quick glance at a work in progress, sometimes Cash Only offering praise, sometimes criticism. “It’s all good,” says the artist. “I often prefer the criticism. Sometimes it’s valid, and worth considering, although one has to take into consideration the amount of alcohol consumed by the critic.”

On one occasion, legendary Rick Wright, Off the Wall artist Philadelphia artist Joe Tiberino by and asked to see some and 2012 Mary Liz Fellow, once stopped of Bohné ’s sketches. “I highly respect his opinion, and I wasn’t referred to Robert Bohné as sure what to expect. After “the Hemingway of florid brush quite he paged through the book, he complimented me on my style, strokes.” That would make then thanked me for keeping Dirty Frank’s Bohné’s version of and the tradition of barroom drawing Hemingway’s Sloppy Joe’s. alive and well. Now, that really meant something to me.”

On another occasion, Dirty Frank’s Hall of Famer and barroom philosopher Bruce Hunter asked if the artist would draw him at a time when he wasn’t aware that he was being drawn, to which Bohné replied, “I already have, Bruce. About seven times.” (continued from the previous page)

Bohné is also passionate about plein air painting, the art of painting directly from nature. He is the organizer of the Meetup group known as “Landscape Painting Philadelphia,” who spend a Check Him Out great deal of time painting the urban landscape.

Quite often, they can be found painting the waterfront along Columbus Boulevard. “I grew up in the suburbs, and when I was in my late teens, I had a fear of coming into the city. But now, through my painting and my involvement with the Philadelphia arts community, I feel totally connected and at home in the city.

Philadelphia offers so much in the way of interesting subject matter that I don’t feel the need to go anywhere else. I guess that makes me a South St. Bridge Philadelphia painter. In my opinion, that’s something to be proud of. Who wouldn’t want to be part of that legacy?”

A third aspect of Bohné’s work involves his connection with the Plastic Club and the Philadelphia Sketch Club, where he participates in drawing from live models several times a week. “My fellow artists have become a second family to me.

We draw and paint together, eat and drink together; we even travel together— everything from museum outings to yearly trips to Europe. It’s a wonderful community.” And this brings the artist full circle. It was through the Plastic Club that the artist started visiting Dirty Frank’s after Thursday night drawing sessions. “For me, it was just a continuation of the Thursday night workshop, the only difference being that the models at Dirty Frank’s are clothed. Most of the time. When people ask me what I do on Thursday nights, I love to tell them that from 6:30 to 9:30, we draw from the model, and from 9:30 to 11:30, we draw from the tap.”

Visit Robert online at: robertbohne.com Follow him at: facebook.com/RobertBohneArtist Painters pencil & gouache 175.

Pick Up Line

pencil & gouache 150.

Reader, Writer

pencil & gouache 150.

Red Church

oil on panel 450.

The Old Custom House

Base of the Bridge

oil on panel 575.

South St. Bridge

oil on canvas board 450.

Cash Only

Southern View from Race St. Pier

Check Him Out

Stood Up

Door Man

Urban Landscape #1

Franklin at Sundown

Urban Landscape #2

Franklin under Fog

Urban Landscape #3

Night Out

Urban Landscape #4

The Old Customs House

Vinnie

On Tap

Walt Whitman Bridge

The Opening

Waterfront

watercolor & gouache 175. pencil & gouache 75. oil on paper 75. oil on panel 300.

oil on canvas board 450. pencil & gouache 175. oil on canvas board 450.

watercolor & gouache 100. pencil & pastel 150.

oil on panel 450.

pencil & gouache 75. pencil & gouache 50. pencil & gouache 50. pencil & gouache 50. pencil & gouache 50. pencil & gouache 150. oil on panel 700. oil on panel 300.

Night Out

Excerpts from a recent review by DoN Brewer, DoNArTNeWs.com: [Robert Bohné’s] collection of recent and quite exquisite plein air paintings is a subtle yet sublime interpretation of landscapes and still life subjects. Each of the paintings has an immediacy and atmospheric naturalism that identifies the artist’s painting style. The small scale oils are richly narrative with information design and skilled brushwork. The artist’s eye is apparent in each piece especially with technical virtuosity of color and depth of field, drawing the viewer deep into the landscape or experiencing the delightful wetness of an object with expert application of paint. ...

Like impressionist masters, Bohné knows to return to his subjects repeatedly to gain the sense of realism he desires with less and less detail but infinitely more important visual information. ...

Working on oil on board, oil Southern View from Race St . Pier on paper or academy board, each painting delights the senses with the artist’s appreciation of artistic appropriateness and style. One aspect of Robert Bohné’s paintings is that they look really finished, professional and accessible. [brewermultimedia.com/2012/10/16/robert-bohne-at-artists-house-gallery]

Matthew Green

When thinking about the history of my art , it makes perfect sense that my work would , and should , be exhibited at Dirty Frank's . I became familiar with Dirty Frank’s like any other patron, having wandered in looking for a place to have a drink. It was about 10 years ago, and I went on to spend some of my best times here. I had recently shifted gears in my painting, moving from mixed media to realism, and I was living what I refer to as my ‘Jack Kerouac period’—in between jobs and working full time in my old studio on Spring Garden Street, walking the city, looking for old, dilapidated buildings and bleak urban landscapes, which had really begun to captivate and inspire me. On lazy afternoons when I wasn’t painting, I’d often stop in for a drink and end up staying there long after dark, taken in by the comfortable atmosphere and camaraderie of the other regulars.

My work is an honest assessment of the conflict between Nature and Man. The four paintings in this show are taken from a study I’ve done over the last few years on the New Jersey Meadowlands, an environmental catastrophe that has been a battleground between developers and environmentalists for decades. Through the research and field studies for this project, I’ve come to the conclusion that optimism is no longer possible, so what I’m really expressing is the reality we are all denying: that the effects of human civilization are irreversible, and that Nature will end up being the loser. (continued on the next page) Xanadu

My work documents the legacy that civilization will leave behind in our world.

It expresses the throw-away nature of our way of life and the wanton destruction caused by our desire to acquire material wealth. A friend of mine described the subjects in my paintings as “soulfully staring back at us.” I think this captures an important element in the work. Every scene I paint records this legacy as if the things we create and discard are trying to tell us something. Every detail is painted as meticulously as I believe it should be, enabling each picture to take on a life of its own and say what it needs to say.

Kearny

Kearny

oil on canvas 350.

Visit Matt online at: mgreenartist.com

Laurel Hill

oil on canvas 400.

Snake Hill Summit #1

oil on canvas 300.

Xanadu

oil on canvas 750.

“[I first came to Frank’s]...living what I refer to as my ‘Jack Kerouac period’— in between jobs and working full time in my old studio on Spring Garden Street, walking the city, looking for old, dilapidated buildings and bleak urban landscapes, which had really begun to captivate and inspire me.”

Laurel Hill

“...I’ve come to the conclusion that optimism is no longer possible, so what I’m really expressing is the reality we are all denying: the effects of human civilization are irreversible....”

Snake Hill Summit

#1

J im Montgomery

I work in mixed media . The materials are often steel , wood , stone and plastic . Recently, I have been using stainless steel, which is a new direction for my sculpture. Using stainless steel is somewhat challenging but rewarding since it reflects the full spectrum of all the colors in the surrounding area. That means exhibiting in Dirty Frank’s. There are enough Bud and PBR signs to bring out the best in stainless steel—not to mention the contributing neon light factor.

Which brings me to the early years of Frank’s. The Bud and PBR signs were the only form of art in the bar and there was even talk of changing that. Change did take place thanks to one woman—Mary Liz. She was one of the first to exhibit artwork in any bar and, thankfully, I will say that is the only change that ever took place in Dirty Frank’s.

I applaud Mary Liz for following her bliss and the change she made.

Thank you, Mary Liz. I toast you!

in the 3D case: Automaton

mixed media 850.

Hitoshi

lithograph stone 500.

Knight Hitoshi

on the wall: Distant City

watercolor 200.

Hickory Run

oil stick & egg tempera 150.

Meadow Odyssey (in situ)

egg tempera 200.

bronze coated steel 500.

NYT

polished steel 1200.

Planets

kinetic mixed media 1200.

Tesla's Journey

mixed media 650.

on the ceiling: Odyssey

brass, bronze, stainless steel, polycarbonate plastic, optical lenses and clock parts 2500.

Follow Jim at: facebook.com/pages/ Jim-Montgomery/363760466700

Planets and detail above

“Change did take place thanks to one woman—Mary Liz. She was one of the first to exhibit artwork in any bar.... I applaud Mary Liz for following her bliss.”

Tesla's Travels (above) and Automaton

NYT

Support Our Community Off the Wall Gallery is a true nonprofit enterprise. Our commissions cover only a fraction of the resources needed to put on Mary Liz Memorial Masters Exhibition 9 and the six other shows we will produce in 2013. Without our community’s support, this work simply wouldn’t be possible. There are two grow, open more doors of opportunity for ways you can help us continue to grow emerging artists and connect our audiences to more outstanding art.

1) Become a ‘Friend of Off the Wall’ with a gift of $30 or more. We will proudly acknowledge your support in future programs. Please drop this form with a cash donation to your bartender.

2) Become an Off the Wall volunteer. We always need expert volunteer support, such as professional design services, and outreach specialists for tasks ranging from dropping postcards around town to emailing art listings and press releases and following up by phone.

Thank you in advance for your support!

I’d like to make a gift of $____________________.

II’d like to volunteer for Off the Wall Gallery.

Name(s) ___________________________________________________________________ Address ___________________________________________________________________ ___________________________________________________________________________ Email _____________________________________________________________________ I’d like to offer my expertise in ______________________________________________

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If you are considering making a year-end gift, pleas know that Off the Wall Gallery does not have 501(c)(3) status, so you gift is not tax-deductible. Please direct any questions you may have to offthewallgallery@gmail.

callforentries We’re seeking 2D, 3D and multimedia art about food.

Think: all aspects of food, cooking, eating—from

conventional to gourmet...art made from food and food as art...what in your kitchen can you use to make art?... the socialization of dining out...how have Facebook and social media changed everything?...farming, agribusiness and how food is produced...food crazes, fad diets and how it’s consumed...any ingredient from your fridge to a professional kitchen...the restaurant industry, from biz to buzz...hey, any inspiration from Dada to Wawa is great!

June 2–August 2, 2013

feastyoureyes Eighth Annual Community Juried Show entryguidelines WHAT: Up to 5 works in any medium; 2D entries must be 48 inches or under in combined dimensions (height+width) HOW: Email high-quality, clearly labeled jpegs (under 500k); titles, media, sizes, prices; and a required statement of 100 words or fewer to offthewallgallery@gmail.com WHEN: No later than Thursday, May 9 HOW MUCH: It costs nothing to enter!

offthewallgallery at Dirty Frank’s

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