TheWoodmereAnnual 74 t h J u r i e d E x h i b i t i o n
June 27 – September 7, 2015
Woodmere extends sincere thanks and appreciation to Victor Keen and to the Drumcliff Foundation for their generous support of the exhibition and the digital catalogue.
The Woodmere Annual 74th Juried Exhibition
Contents
Foreword by William R. Valerio, Ph.D. 2 A Conversation with The Dufala Brothers 4 Works in the Exhibition 16
June 27 – September 7, 2015
WoodmereArtMuseum
FOREWORD The Woodmere Annual takes on a different spirit
the Annual is to inspire, to explore contemporary
every year, due in part to the transformations in
currents, and to make Philadelphia a more vibrant
the art of our city and the vision of our jurors. We
place for artists to live and work.
thank the Dufala Brothers—Steven and Billy—for bringing great seriousness to their work as jurors, and for their over-the-top passion for engaging with the strange textures and weird objects and images that fill our daily lives. In making their selections, they considered the work of hundreds of artists who responded to Woodmere’s open call. Taken together, the chosen works express a jaunty, irreverent, sometimes ironic humor. This may be the first time that the Annual is itself one big work of art, an installation by the Dufala Brothers that speaks in many voices and colors. The exhibition is organized in distinct groupings, often pairs of works that approach a similar subject, share some intangible connection, or utilize a similar strategy of fabrication. In this way, they challenge us to decipher relationships and figure out our own “take” on difference and sameness. Once again, Woodmere thanks the Dufala Brothers for organizing a provocative exhibition that is beautiful in its totality, even if they and most of the artists included do not strive to create objects that are beautiful in the traditional sense. Woodmere’s staff shined as always, and Sally Larson, Rachel McCay, Emma Hitchcock, and Rick Ortwein earned their stripes for handling the complicated logistics of the exhibition and its digital catalogue. Both Victor Keen and The Drumcliff Foundation have been our angels in supporting the Annual once again, and for this we are deeply grateful. There is nothing more important to any museum than ongoing support from year to year. Our goal with
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William R. Valerio, PH.D
The Patricia Van Burgh Allison Director and Chief Executive Officer
Good Intentions, 2015, by Holly Smith (Courtesy of the artist)
The Woodmere Annual: 74th Juried Exhibition 3
A Conversation with The Dufala Brothers
On April 22, 2015, artists Billy Dufala and Steven Dufala, jurors of this year’s Woodmere Annual, sat down with Assistant Curator Rachel McCay and Director of Exhibitions Rick Ortwein to discuss their selection process and the character of this year’s exhibition. BILLY DUFALA: I’ve never sat in front of 580 submissions. Our approach was to respond to the works without a plan. I think one of the things we had to do was develop a way to get through it that felt comfortable. STEVEN DUFALA: There were a couple of sessions where we assessed what was in front of us and asked, “OK, well, how do we make a show out of this?” RACHEL MCCAY: There must have been a range of responses. Knowing that you didn’t have a plan, I won’t ask you what kind of response you were looking for. So what kind of response were you most attracted to? BD: Things that made me crack up or blew my mind. SD: We were doing our own weird inventory of what we were seeing in front of us. Ritva Kangasperko’s painting blew my mind! RM: You selected it because it was unexpected? SD: It was just strange. There’s a guy and two tigers Three Friends Reading a Hunting Magazine, January 2014, by Ritva Kangasperko (Courtesy of the artist)
reading a magazine with pictures of deer. Worlds are colliding in that picture. We began to notice a lot patterns and similarities. For example, there were also a handful of chairs.
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left to right: Folding Chair, 2012, by Tom Judd (Courtesy of the artist); Lawn Chair, 2013, by Amy Ritter (Courtesy of the artist); Siesta, 2010, by Doug Smock (Courtesy of the artist); Chair, 2015, by Jen Brown (Courtesy of the artist)
RICK ORTWEIN: There a lot of pairs of things. SD: Yes, that became apparent. We also included very little abstract painting. Almost none really, because, one, there was a ton of it, and two, it didn’t feel especially compelling to me. It’s not that it wasn’t compelling in general, just in the context of looking at work by 580 artists. BD: I wouldn’t say it wasn’t compelling, but at the same time, when it came time to try to pull things apart, in some kind of Dufala logic, when we were putting it together between the two of us, it wasn’t
media and internet-based stuff that’s using a graphic language that seems to come from a print, typographic, or commercial media tradition— trades, crafts—rather than an academic painting tradition—color, character, figurative composition underpaintings! All of these are useful tools in abstract painting for sure, but I think the ambitions are different, and the histories are different. BD: There were really profound, technically proficient painters, like Phillip Adams (see page 7). His work is really amazing.
fitting.
SD: It’s pretty stunning.
SD: For me, it was a little bit more nuanced, maybe
BD: Thinking about people who were rejected,
just by virtue of me being the 2-D guy. There was a
they were absolutely incredible draftspeople with
lot of really painterly abstraction, but almost zero
impeccable technique, but that wasn’t what we
graphic abstraction—if that’s a thing. Marianne
were responding to.
Dages (see page 6) is an exception, but that was almost the full extent of graphic style in all the works—there was almost none. BD: There were a lot of color fields.
RO: If there’s so much painterly abstraction, that would seem to be the local trend then. SD: I agree, but I didn’t know how to parse it into a selective group, especially when there’s so much
SD: There was a lot of color stuff, a lot of really
weird stuff that seemed to be well outside any
painterly stuff, but that’s not particularly interesting
prevailing discourse about how art is made. Even
to me right now, especially in terms of abstraction,
though some of the artists have PAFA (Pennsylvania
because there’s a little bit of a movement in print
Academy of the Fine Arts) connections, it’s not
The Woodmere Annual: 74th Juried Exhibition 5
Dictionary I, 2013, by Marianne Dages (Courtesy of the artist)
what PAFA teaches. RO: When we put out the prospectus, we always say a theme will emerge from the exhibition. People read it and say, “Oh, you already have a theme,” or they call and ask, “What’s your theme?” so they can submit something that fits. Inevitably the shows say something about contemporary art in Philadelphia. It’s interesting that there was a plethora of painterly abstraction, which I guess canceled itself out.
interested in color and texture. One of the trickiest things about something like abstract painting is that, from my own experience working that way and from talking about it with other painters, it really does get to be a closed pursuit for a lot of people, where the meanings of things are so insider. It’s a really unique and special thing, but it’s exclusive in a way that I don’t particularly like, not in the least because we also increasingly work in social terms and that’s such an open and engaged
SD: I also think it may just be that it was Billy
thing. As much as I love small-scale, personal, quiet
and me looking at the pictures. In a way what we
idiosyncrasies, to select work like that for this show
selected says nothing about the quality of this
seemed to be running a little bit contrary to where
work or that work at all. I wonder, too, if what we’re
we’re going in our own pursuit.
interested in in terms of this show has something to do with having gone to PAFA and been immersed in a more traditional approach for a moment in time
BD: When I think of work that I might start, or something I’ve envisioned in my mind, or when we’re working on a show, I’m interested in
BD: I wouldn’t be surprised, if you dug down deep
experiences where almost anybody could walk
enough, if it was directly related to that.
away with something. There’s something about a lot of this work that I think anybody can get something
SD: I used to paint a lot, and it was abstract. I was 6
woodmere ARt museum
Happy Hour, 2014, by Phillip Adams (Courtesy of the artist and Seraphin Gallery)
from rather than it being very exclusive. SD: That’s absolutely true. BD: When you go to First Friday, I’ve noticed that things are so serious and maybe sidestepping
nothing funny about how people have been pushed around in Mantua, what the community has dealt with. RO: The title of the project is humorous.
that seriousness informed our selections. A friend
BD: There’s nothing funny about funerals, unless it’s
of ours was nominated for the Pew and he asked
for a home, but even then, it’s still sad because of
them, “So, has anybody funny ever gotten the
the community where it’s happening.
Pew?” They gazed off into space and said, “You know, come to think of it, no.” That says something. Even though I’m talking about being funny, now we’re at a point in our career where a lot of our work has been a lot more weighted in terms of the content and is tied to more serious issues that are
SD: It’s an excuse to go there and have this event to pull the community together to get these voices aired, and to get people there to see it. That history is in itself not funny. BD: It’s tragic!
relevant to all sorts of people. SD: The goofiness, on one level, is you and me SD: There are still odd juxtapositions in our work.
trying to get everyone on board with our idea.
Even Funeral for a Home is a kind of a harebrained
The first response from so many people when you
scheme, which is a little funny. Even though the
mentioned that project before anybody knew about
subject—Mantua housing— is heavy and there’s
it was like, “You want to do what now?” At the very
The Woodmere Annual: 74th Juried Exhibition 7
upper left: Communion (video still), 2012, by Jeff Brown (Courtesy of the artist) upper right: Seated Clown, 2010, by Kenneth Blumberg (Courtesy of the artist); lower left: New Arctic Explorer, 2015, by Robert Small (Courtesy of the artist); lower right: Untitled, 2014, by Lisa Boughter (Courtesy of the artist) 8
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least they were curious.
more nervous than it does me.
BD: Without a doubt you solicit a response
BD: Yeah.
because you’re not going to tell somebody in that neighborhood that you want to have a funeral for a home. RM: The alternative might be to rent a gymnasium and have a community forum. That seems to be characterized by the kind of seriousness you hope to avoid. Perhaps people aren’t interested in that
SD: I really like going out on that limb and seeing what’s going to happen. Something will happen. Whatever happens, the show will open. There will be work in there. BD: The improvisational spirit is inherent in a lot of things we do.
kind of exchange or are alienated by something so
SD: I feel like all those submissions are what made
formal. What you’re doing is more inclusive of the
the show, not us so much. We just went through
community.
them and found a lot of pairs, which is perfect for
SD: Yeah. Humor and other less “formal” ways of
us.
doing things can be an amazing way of cracking
BD: It also sets us up so that we can integrate
open tough issues—it helps drop defenses, and
ourselves.
open things up, simply by looking sideways at something. Our view is that this creates space in the
SD: We can integrate ourselves into other pairs or
conversation around these tough issues for more
into the sci-fi room. There was a strange amount of
voices, and more perspectives, which we think on
science-fictiony imagery. We decided to create a
the whole is really healthy.
whole room out of sci-fi related things.
BD: Yeah, I think so.
BD: There were other things like amputees showing up on multiple occasions. The pairing is exactly like
SD: We try. I’ve been doing a lot of design for
our dialogue, where I might finish one thing and you
theater and dance, and with those projects you
might finish another.
basically start anywhere, and you organically build the work. There isn’t a script really, maybe some
SD: This was uncanny to me, that Jesse Friedman’s
foggy notions of which direction you’re heading.
You Eat the Pizza and Diane Ross’s Special Delivery
Through the course of workshops, and limited runs
were both submitted.
of performance, you craft what ultimately becomes the work. The awesome thing about it is that you
BD: They are also very similar sizes.
can start with next to nothing and end with art.
SD: It just blew my mind. All we have to do is
That’s how I approach almost everything. I don’t
put them both on the wall next to each other
always feel the need to have an idea, especially for
and everyone will understand perfectly what’s
this project. That’s why we wound up eschewing the
happening.
specific call, I think. The discovery part of it is really important to me. I think it makes you, Billy, a little bit
BD: It’s interesting when you can put two things next to each other, and they’re already going back The Woodmere Annual: 74th Juried Exhibition 9
upper: Special Delivery, 2014, by Diane Ross (Courtesy of the artist); lower: You Eat the Pizza, 2013, by Jesse Friedman (Courtesy of the artist) 10
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Ballooner, 2014, by D. Read Lockhart (Courtesy of the artist)
and forth. I think this way of selecting the show has a lot to do with how we make things and how we work together. I think maybe we did a good job because from what you guys have said there are a lot of people in this show that might never be in the show again. I met Read Lockhart after we made the selections and Ballooner is from a body of work
work? BD: A lot of things I find I pick up through the trash. If this person passed away then maybe their entire life shows up at the recycling center because there was a cleanout, or they were evicted and the contents of their apartment wound up there.
that he doesn’t show to anybody. He’s a classically
SD: The word trash does a disservice to the integrity
trained painter from PAFA , but he didn’t want
of many of the objects that come through. There’s
to just be this academic painter. This work is the
a waste stream, so by accident or intentionally,
stuff that maybe is more of his guilty pleasure, and
things that wind up in that stream that you directly
maybe work he’s not ready to present to the world.
interface with all have their own stories. Artwork
I thought it was kind of funny that the work he’s not
comes through. You can call it trash, but it’s a
really confident about is the stuff we picked.
painting.
SD: Well, he’s in good company. I also have no idea
BD: I don’t mean to call it trash. I feel like I see a
what that picture means.
good amount of artwork. Then I show it to people
RM: I don’t either. You said that your work has taken on a social dimension, but, Billy, you also work at the recycling center. How does that inform your
and celebrate it for a little bit and then it goes back in. Very few things have really been rescued from the stream.
The Woodmere Annual: 74th Juried Exhibition 11
SD: Our work has gone in that waste stream, gone
SD: I’m working on a bunch of new drawings right
into a gallery context and gone back in.
now. There are two huge stacks at this point and
BD: There are things that come through on a regular basis that look just like contemporary artwork, like little dioramas that look just like a Joseph Cornell. There was a car wash spindle that if you turned it upside down and put two boots on it, it would look like a Nick Cave Soundsuit. Depending on how you look at it and how you read into it, there’s definitely something behind it, but I think part of my interaction with those discarded objects on a regular basis bled into this selection process. The objects we’ve pulled out will undoubtedly be included, starting with the monkey dressed in a nurse’s outfit.
a bunch of miscellaneous stuff. I went through my entire stack of last year’s worth of daily drawings. I’m cutting it up to make new works out of it. RO: You’re going through your own waste stream. SD: Yeah, and there are a couple of things that have already popped up that make sense with this work. I have this weird little dashed off drawing of a fish thing that I love. I wanted to fill in our work around the selections because I want to see the full potential of the installation. Discreetly pairing ourselves with other things enables us to be present but not a focus. It’s more interesting to me to dovetail neatly in this strange context. RO: Was this process a learning experience? SD: It was for me. BD: Yeah. It was also fun. I wonder what would change if we approached this similar process in the future. SD: It was exciting. I was getting really nervous when I realized that almost six hundred people applied. We were both maybe feeling a little dread, like, wow, maybe we should have pitched something specific in the exhibition proposal. But once we started to go through stuff a little bit of a notion started to form and then it was more of a hunt or an investigatory thing. That was one of those magical moments we were mentioning. BD: The result will be something that you didn’t have at the beginning. We both knew we needed to give ourselves up to the notion of the unknown and be confident that we would arrive somewhere and
Untitled (Nurse), 1976 by unknown artist (courtesy of the Dufala Brothers) 12
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be OK with that.
SD: Ultimately you’re going to be the one directing
were three of them and they picked one. It may or
yourself through the process so it’s going to reflect
may not have been high enough quality to have
your sensibility. You can’t help but do that.
been included but they were filling a gap.
BD: I think trying to create a survey of what’s
SD: I had a bit of a panic last night when I realized
happening in the Philadelphia contemporary art
that I didn’t honestly know the gender breakdown
scene would have destroyed that process, and it
for artists selected. I wonder if we’ve done a good
wouldn’t have been fun, and I don’t think we would
job. I have no idea because that wasn’t part of my
have arrived at the show that we have now. I think it
thinking.
would have been painful. SD: I also would have felt totally unqualified to do that. RO: The show is consistent with your way of thinking. You’re the representatives of that part of the world, as opposed to anyone else in the painterly abstraction world. What’s happened before, which isn’t to say that they haven’t been successful exhibitions, was that there were moments when the jurors said, “We don’t have any figurative sculpture and we need figurative sculpture,” and they went to the pool and there
RM: You were very close to even. There are 47 women and 41 men. I think that’s great. RO: To me, it’s great that you don’t know. You’re just responding to the work. SD: When we were doing the big push through all of the selections, Billy was on one side of the room and I was on the other side of the room and we both had our laptops open going through it. We were calling back and forth to each other saying, “Oh, the weird blue lady with the thing.” We weren’t calling out the artists’ names at all. Getting to this
Untitled (Bachelor Farmer Signal Tower), 2013, by Lewis Colburn (Courtesy of the artist). (detail on right)
The Woodmere Annual: 74th Juried Exhibition 13
Muddy Muse, 2015, by Madeline Vallari (Courtesy of the artist)
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Cook Forest Studies, (video still) 2011, by Cari Freno (Courtesy of the artist)
point was more fun than I initially anticipated, but
two-thirds to three-quarters of the show and then
it’s daunting at the outset when you know that the
the rest would be left for those little moments to
end result is a relatively highly visible thing and
happen and to be able to push and pull. I think we
you have no idea how you get from here to there.
already understand generally what’s upstairs. The
The most nerve-wracking part was just a lack of
whole idea up there is to show intimate, individual
information or bearing. You have no idea what to
perspectives, through the scale and nuance of the
even think about. But now, here’s all this work and
work. Downstairs, along with the sculpture, we’ll
we had fun with it. I would say the fun part about
also have a lot of pairs. We know that we want
not being programmatic about the selection is that
certain works to communicate with each other,
there’s all the room in the world for connections
whether they’re across the room or next to each
and other things to happen, and to be able to
other. There are a bunch of different ways to parse
accommodate those things.
the show. There are vantages from downstairs, of
BD: The thing I was worried about when we first realized how much and what kind of work we selected is how much more space there is and the amount of sculpture versus the amount of space and how that’s going to work out for the smaller stuff. I was thinking of wall mounting and putting it
course, where walls upstairs are so highly visible from the floor that we don’t need to spend that space on close proximity. We could also have far away proximity. We’ll work our way out of the space. The last picture to go up will probably have no choice but to go where it’s going.
up on shelves. SD: In terms of the installation, it would be ideal if, when we get in the room, to pretty much place The Woodmere Annual: 74th Juried Exhibition 15
Works in the exhibition
Jurors The Dufala Brothers American (born 1976 and 1981)
long finger, 2015 digital print, 23 x 13 in.
Artist unknown Untitled (Nurse), 1976 Ceramic, 7 x 5 x 13 in.
small water, 2015 watercolor on paper, 6 x 8 in.
Courtesy of the Dufala Brothers
all work Courtesy the artists and Fleisher/Ollman, Philadelphia unless otherwise noted Chair, 2009 Wood and metal, 34 1/2 x 16 3/4 x 28 1/2 Quadriga, 2009 Photocopy on cardstock, 6.25 x 4.5 inches From the archive set of Freewall, from the exhibition One on One on One, Buffalo, NY, 2009 Extra Leg, 2010 Ink on untreated newspaper clipping mounted on cotton paper, 5 1/8 x 3 in. Terry Adams Stab, 2010 Ink on untreated newspaper clipping mounted on cotton paper, 3 1/4 x 4 in. Tom Friedman Loves Metallica Soap, 2012 soap, pubic hair, brass, steel, 5 x 11 x 7 1/2 inches Photograph by Claire Iltis
BX Ball, 2013 Armored electric cable, electrical socket, 28 inches diameter Courtesy the artists and Fleisher/Ollman, Philadelphia Photography by Claire Iltis
tape measure ball, 2014 Tape measures, 11 x 11 x 19 in.
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upper left: BX Ball, 2013,; upper right: long finger, 2015; lower: Tom Friedman Loves Metallica Soap, 2012; all three works by the Dufala Brothers (Courtesy of the artists and Fleisher/Ollman, Philadelphia)
The Woodmere Annual 74th Juried Exhibition Phillip Adams American, born 1978 Happy Hour, 2014 Charcoal, graphite, and oil on panel, 48 x 48 in. Courtesy of the artist and Seraphin Gallery
Kim Altomare American, born 1991 Chicken Head, 2014 Oil on canvas on panel, 14 x 11 in. Courtesy of the artist
Timothy Belknap American, born 1976 Forgiveness, 2014 Motor, rubber snake, bucket, 20 x 12 x 12 in. Courtesy of the artist
John A. Benigno American, born 1946 Barn, Kuerner Farm, 2010 Archival pigment print, 11 1/2 x 8 1/4 in Courtesy of the artist
Greg BichÊ American, born 1990 Burke’s! outflings my lord Stephen, giving the cry, and a tag and bobtail of all them after, cockerel, jackanapes, welsher, pilldoctor, punctual Bloom at heels with a universal grabbing at headgear, ashplants, bilbos, Panama hats and scabbards, Zermatt alpenstocks and what not. A dedale of lusty youth, noble every student there, 2014 Ballpoint pen on paper, 8 1/2 x 11 in. Courtesy of the artist
Stuff behind a Wall, 2010 Ballpoint pen on paper, 8 1/2 x 11 in.
Chicken Head, 2014, by Kim Altomare (Courtesy of the artist)
Courtesy of the artist
Coke can strips and nails on teakbase, 90 x 7 x 7 in.
Jim Biglan American, born 1966 Zit, 2015 Oil and clay on canvas, 16 x 12 x 3 in.
Courtesy of the artist
Courtesy of the artist
Levi Pole, 2013 Recycled Christmas tree with Levi inseams, nails, red map tacks on cast concrete base, 96 x 10 x 10 in. Courtesy of the artist
Kenneth Blumberg American, born 1961 Seated Clown, 2010 Oil on board, 18 x 12 in.
Jeff Brown American, born 1959 Communion, 2012 Video; 2 minutes, 10 seconds
Courtesy of the artist
Courtesy of the artist
Lisa Boughter American, born 1966 Untitled, 2014 Archival pigment print, 11 x 14 in. Courtesy of the artist
Gregory Brellochs American, born 1973 Vivarium, 2013 Graphite on paper, 34 x 34 in. Courtesy of the artist
Barn, Kuerner Farm, 2010, by John A. Benigno (Courtesy of the artist)
Linda Brenner American, born 1940 Coke Pole, 2012 Recycled Christmas tree with
Jen Brown American, born 1987 Chair, 2015 Poplar, hot glue, spray paint, and thread, 4 x 1 1/2 x 1 1/2 in. Courtesy of the artist
Sinead Cahill American, born 1990 What Have You to Offer, 2015 Stone lithograph on cotton, batting, 14 x 12 in. Courtesy of the artist
The Woodmere Annual: 74th Juried Exhibition 17
Lynne Campbell American, born 1967 Spring (Luck), 2013 Acrylic on wood, 11 x 11 in. Courtesy of a private collection and Morpeth Contemporary
Mariel Capanna American, born 1988 Mojave Mercado, March 2015 Acrylic on fresco on panel, 30 x 40 in. Courtesy of the artist
Edward Carey American, born 1984 Studio Head, 2014 Tape, chalk, and eraser, 9 x 6 x 8 in.
009 Car Heaven #1, 2013, by John Costanza (Courtesy of the artist)
Courtesy of the artist
Salvatore Cerceo American, born 1973 Death before Dishonor, 2014 Polymer clay, cardboard, and acrylic, 8 x 4 x 4 in.
Jacintha Clark American, born 1986 Pack Lightly, 2015 Porcelain packing peanuts and cardboard box, 16 x 16 x 16 in. Courtesy of the artist
Courtesy of the artist
Monday Morning Ritual, 2014 Ink on paper, 9 x 11 in. Courtesy of the artist
Alex Cohen American, born 1980 Saturn and Son, 2014 Oil on board, 28 x 16 in. Courtesy of the artist
Lewis Colburn American, born 1982 Untitled (Bachelor Farmer Signal Tower), 2013 Aluminum, pine, denim, cast urethane, steel and electrical components, 108 x 60 x 36 in. Courtesy of the artist
John Costanza American, born 1924 009 Car Heaven #1, 2013 Lucite, toy cars, 12 x 18 x 12 in. Courtesy of the artist
Monday Morning Ritual, 2014, by Salvatore Cerceo (Courtesy of the artist)
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Jenny Cox American, born 1959 As Many as I Can, 2014
Ink on paper, 21 1/2 x 29 1/2 in. Courtesy of the artist and Center for Creative Works
Marianne Dages American, born 1982 Dictionary I, 2013 Gouache, pencil, and silverpoint on paper, 38 x 50 in. Courtesy of the artist
Alexander Danta American, born 1958 Per Aspera Ad Astra, 2014 Deer antler, Tunguska meteor fragment, and sterling silver caps, 11 x 1 1/2 x 3/4 in. Courtesy of the artist
Kristin Deady American, born 1980 Front Passenger Side, 2015 Rock found inside my car, on the floor of the front passenger side, and salvaged glass from the window that the rock was used to break, 3 1/2 x 5 x 4 in. Courtesy of the artist
Tim Eads American, born 1976 105 Rolls on One, 2011 105 rolls of toilet paper rolled onto one roll, 32 x 48 x 5 in.
Morgan Hobbs American, born 1988 Sick Shirt, 2013 Oil on panel, 26 x 22 in.
Courtesy of the artist and Pentimenti Gallery
Courtesy of the artist
Marilyn Holsing American, born 1946 Labourers, 2014 Watercolor on paper, 28 x 24 in.
Elaine Erne American, born 1965 Mr. Duckie Takes a Diving Lesson, 2014 Lithograph, 10 x 8 in.
Courtesy of Gallery Joe, Philadelphia
Courtesy of the artist
Raphael Fenton-Spaid American, born Italy 1983 Self Portrait #4, 2015 Acrylic, spray paint, and fabric on canvas in found frame, 36 x 22 in. Courtesy of the artist
Sarah Hunter American, born 1983 Study for Saint Lucy, 2015 Acrylic on paper, 10 x 7 in. Courtesy of the artist
Mr Duckie Takes a Diving Lesson, 2014, by Elaine Erne (Courtesy of the artist)
Ryan Foley American, born 1985 Bow Out Gracefully, 2013 Acrylic and mixed media collage on canvas, 16 x 13 in.
Grace of God, 2014 Oil on canvas, 24 x 30 in.
Courtesy of the artist
Courtesy of the artist
Cari Freno American, born 1982 Cook Forest Studies, 2011 HD video; 3 minutes, 37 seconds
The Hunter, 2015 Oil on canvas, 20 x 16 in.
Ben Jones American, born 1990 Bored at Work, 2015 Inkjet print, 11 x 17 in. Courtesy of the artist
Tom Judd American, born 1952 Folding Chair, 2012 Altered found chair, with hinges, 33 w x 17 d x 22 1/2 h in. Courtesy of the artist
Courtesy of the artist
Courtesy of the artist
Jesse Friedman American, born 1991 You Eat the Pizza, 2015 Oil and pizza box on panel, 12 3/4 x 24 1/2 in. Courtesy of the artist
Michael Garrity American, born 1955 Laundry Basket, 2014–15 Pencil on paper, 14 1/2 x 10 1/2 in. Courtesy of the artist
Nancy Heilemann American, born 1934 Been There, Done That, by the
Bored at Work, 2015, by Ben Jones (Courtesy of the artist)
The Woodmere Annual: 74th Juried Exhibition 19
Ritva Kangasperko American, born Finland 1954 3 Friends Reading a Hunting Magazine, January 2014 Oil on cotton, 36 x 24 in.
Kathryn Lien American, born 1990 Flexin’, 2014 Photographic transfer on lauan, 45 x 36 in each.
Courtesy of the artist
Courtesy of the artist
Colin Keefe American, born 1968 Flux Atlas, 2013 Ink on paper, 44 x 30 in.
D. Read Lockhart American, born 1978 Ballooner, 2014 Oil on board, 10 x 12 in.
Courtesy of the artist and Robert Henry Contemporary
Courtesy of the artist
Tina C. LeCoff American, born 1950 Joy, 2015 Oil on canvas, 24 x 18 in.
Erick Miller American, born 1991 Magic Scenario, 2015 Archival inject print, 22 x 33 in. Courtesy of the artist
James Mueller American, born 1989 The Things that Come Out of Your Mouth Sometimes, 2014 Ink and graphite on paper, 8 1/2 x 11 in. Courtesy of the artist
Alice Norman Mandel American, born 1942 Reflections (V), 2014 Gouache on paper, 26 x 19 in. Courtesy of the artist
Courtesy of the artist
Mary Murphy American, born 1958 Self-Portrait D, 2006 Iris digital print, 17 x 23 in. Courtesy of the artist
Nicholas Lenker American, born 1982 Ash, 2014 Forton MG, resin, photo print, 22 x 22 x 3 in.
Michelle Marcuse South African American, born 1957 Fairytale Way, 2015 Cardboard, gouache, and graphite, 7 x 8 x 8 in.
Courtesy of the artist
Courtesy of the artist
Erin Murray American, born 1979 Mertice, 2013 Graphite and India ink on paper, mounted to shaped panel, 11 1/2 x 11 1/2 x 1 1/2 in.
Photograph by John Carlano
Courtesy of the artist
J. A. Panetta American, born 1956 Rorschach #7, 2013 Aquatint etching, 20 x 26 in. Courtesy of the artist
Caitlin Peck American, born 1988 Peter (My Oldest Possession), 2015 Fabric, thread, and Poly-Fil, 11 x 7 x 3 1/2 in. each, edition of 20 Courtesy of the artist
Zachary Pritchard American, born 1989 Lump, 2015 Papier-mâché, wax, and steel mesh, 4 x 5 x 2 1/2 in. Courtesy of the artist
Rorschach #7, 2013, by J.A. Panetta (Courtesy of the artist)
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Dan Schimmel American, born 1964 Sway, 2014 Mixed media, 5 x 2 x 2 ft. Courtesy of the artist Photograph by John Carlano
Emily Schnellbacher American, born 1987 One’s Worth, 2014 Fabric and fiberfill, 72 x 24 x 12 in. Courtesy of the artist
Celeste Schor American, born 1959 Armless, 2009 Graphite and ink on paper, 14 x 11 in. Courtesy of the artist
Look Right Through Me, 2013, by Keith Sharp (Courtesy of the artist)
Amy Ritter American, born 1986 Lawn Chair, 2013 Lawn chair, concrete, 38 x 40 in. Courtesy of the artist
Diane Ross American, born 1961 Special Delivery, 2010 Oil on canvas in pizza box, 19 x 19 x 2 in.
Keith Sharp American, born 1968 Look Right Through Me, 2013 Archival pigment print, 25 x 17 in. Courtesy of the artist
Courtesy of the artist
Lindsay M. Robbins American, born 1986 Tinicum Parrot, 2015 Acrylic on paper, 12 x 12 in. Courtesy of the artist
Alexander Rosenberg American, born 1981 Hold your hands in front of you, about 8–12 inches away from you, at eye level. Point your index fingers toward each other, touching at the fingertips. Now look “through” your fingers, into the distance behind them #4, 2013 Unaltered inkjet print facemounted on acrylic, cast lead, crystal, oil paint, 10 x 15 x 1 in. Courtesy of the artist
Justin Rubich American, born 1987 Bow I and II’, 2011 Duct tape on canvas, 16 x 12 in each. Courtesy of the artist
Jonathan Santoro American, born 1983 Sisyphus’s Toftbo, 2014 Cast plaster, OSHA orange spray paint, 23 x 34 x 2 1/2 in. Courtesy of the artist
Steve Scheuring American, born 1968 Gridlock, 2013 Oil on canvas, 48 x 36 in. Courtesy of the artist
One’s Worth, 2014, by Emily Schnellbacher (Courtesy of the artist)
The Woodmere Annual: 74th Juried Exhibition 21
Municipal, 2014, by Miriam Singer (courtesy of the artist)
Sterling Shaw American, born 1982 Twins, 2015 Acrylic on canvas, 48 x 72 in. Courtesy of the artist
Kathran Siegel American, born 1944 Blue Flowergirl, 2014 Wood, gouache, 30 x 18 x 12 in. Courtesy of the artist
Almut Simins American and German, born 1966 German Impressions II’, 2014 Hard-carved eraser stamp print, 8 3/4 x 6 1/2 in each. Courtesy of the artist
Miriam Singer American, born 1976 Municipal, 2014 Pencil, marker, silkscreen, monotype, and acrylic collage on paper adhered to panel, 12 x 18 in.
Doug Smock American, born 1956 Siesta, 2010 Mixed media, 40 x 22 in.
Courtesy of the artist
Fay Stanford American, born 1960 Mr. Universe, 2014 Woodcut, 22 x 24 in.
Robert Small American, born 1953 New Arctic Explorer, 2015 Oil on canvas, 40 x 30 in. Courtesy of the artist
HOlly Smith American, born 1955 Good Intentions, 2015 Painted wood, mixed media, 9 x 9 x 5 in. Courtesy of the artist
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woodmere ARt museum
Courtesy of the artist
Courtesy of the artist
Kimberly Stemler American, born 1970 Baignoire, October 2012 Oil on panel, 5 x 21 in. Courtesy of the artist
Kate Stewart American, born 1976 The Traveler, 2013 Acrylic on panel, 12 x 12 in. Courtesy of Seraphin Gallery
Alison Stigora American, born 1982 Sabre, 2013 Log and hot cast glass, 18 x 22 x 6 in. Courtesy of the artist
Karen Stone American, born 1957 Distant Cousin, 2012 Human hair on illustration board, 24 x 22 in. Courtesy of the artist
Lucia Thome American, born 1991 They’re Kissing, 2012 Paper, hot glue, and acrylic paint, 17 x 9 x 3 in. Courtesy of the artist
Smells Like My Dad, Tape, 2014 Pepper can and measuring tape, 2 1/2 x 3 1/2 x 1 in. Courtesy of the artist
Alexis Thompson American, born 1979 Old Stone Face (San Lorenzo Tenochtitlan/Buster Keaton), 2015 Ballpoint pen and acrylic on paper, 57 1/2 x 42 in. Courtesy of the artist
Jim Ulrich American, born 1950 DOGS!, 2015 Found fencing, conduit, plywood, papier-mâché, and acrylic paints, 32 x 27 x 4 in. Courtesy of the artist
Madelene Varalli American, born 1969 Muddy Muse, 2015 Paper clay, handmade clay beads, recycled materials, and acrylic paint, 21 x 8 x 5 1/2 in. Courtesy of the artist
Erica Volpe American, born 1986 Angry Gorilla Bus, 2013 Claymation video, Polymer clay; 24 seconds
bea Weidner American, born 1941 A Family Portrait, 2014 Photo collage, 11 x 16 in.
Courtesy of the artist
Courtesy of the artist
Telepathy, 2015 Patinated resin and crystals, 20 x 8 x 10 in.
Virginia Leigh WERRELL American, born 1987 A Dark Room with Teenagers, 2013 Gouache and colored pencil on paper, 10 1/2 x 13 in.
Courtesy of the artist
Jon Weary American, born 1987 Requiem for Jake, 2015 Graphite and charcoal on paper, 26 x 36 in. Courtesy of the artist
Mr. Universe, 2014, by Fay Standford (courtesy of the artist)
A Family Portrait, 2014, by Bea Weidner (courtesy of the artist)
Justin webb American, born 1982 Pizza, Snake, Arrow, Broom Stick, Refrigerator Left Open, Switzerland, 2015 Oil on paper, 7 x 5 in. Courtesy of the artist
Courtesy of the artist
Ashley Wick American, born 1987 Eyeballs and Aeroplanes, 2014 Painted animation, 1 minute, 42 seconds Courtesy of the artist
Edward Woltemate American, born 1944 Sarthyiaoon, 2012 Mixed media collage, 22 x 24 in. Courtesy of the artist
The Woodmere Annual: 74th Juried Exhibition 23
Selections from the Permanant Collection Photographer Unknown Print by McAllister & Bro., Philadelphia Untitled (Cauliflower), late 1850s to early 1860s Hand-colored albumen stereograph, 2 7/8 x 5 15/16 in. Woodmere Art Museum: Gift of J. Randall Plummer and Harvey S. Shipley Miller, 2007
Severo Antonelli American, 1907–1995 Visual Food Values, commercial assignment for the Philadelphia Inter-State Dairy Council, 1938-48 Offset Lithograph, 20 x 12 1/2 in. Woodmere Art Museum: Gift of the artist, 1986
The Dufala Brothers American (born 1976 and born 1981) Untitled, 2011 Etching, 15 x 28 in. Printed with C.R. Ettinger Studio Woodmere Art Museum: Gift of Philagrafika, 2015
Martha Mayer Erlebacher American, 1937–2013 Big Blond Duck, 2006 Oil on canvas, 12 x 15 in. Woodmere Art Museum: Gift of Adrian Erlebacher and Amy Lu, 2014
Moy Glidden American, 1916–2005 Portrait of St. Croix Woman, 1935 Oil on canvas, 30 1/8 x 25 in. Woodmere Art Museum: Gift of the artist, 1999
Susan Lowry American, born 1953 Farewell, 1986 OIl on tin and carved bas relief, 35 3/4 x 28 x 4 1/4 in. Woodmere Art Museum: Gift of Jill and
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Visual Food Values, commercial assignment for the Philadelphia Inter-State Dairy Council, 1938-48, by Severo Antonelli (Woodmere Art Museum: Gift of the artist, 1986) Sheldon Bonovitz, 2014
Jane Piper American, 1916–2005 Portrait of a St. Croix Woman, 1935 Oil on canvas, 24 1/2 x 20 in. Woodmere Art Museum: Gift of the artist, 1999
Charles W. Schmidt American, born 1939 The Moon Suit, 1985 Lithograph, 22 1/2 x 25 in. Woodmere Art Museum: Museum purchase, 1986
Woodmere Art Museum receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency.
Š 2015 Woodmere Art Museum. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without written permission of the publisher.
Support provided in part by
Photography by Rick Echelmeyer unless otherwise noted. Catalogue designed by Barb Barnett and Emma E. Hitchcock, and edited by Gretchen Dykstra.
The Philadelphia Cultural Fund.
Front cover: DOGS!, 2015, by Jim Ulrich (Courtesy of artist) The Woodmere Annual: 74th Juried Exhibition 25
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