TheWoodmereAnnual 77TH JURIED EXHIBITION
WoodmereArtMuseum
Woodmere extends sincere thanks and appreciation to the Drumcliff Foundation and Jeanne Ruddy and Victor Keen for their support of the exhibition and digital catalogue.
TheWoodmereAnnual 77 TH J UR IE D E X HIB ITIO N
CONTENTS Foreword by William R. Valerio 4 A Conversation with Syd Carpenter 6 Works in the Exhibition 24
June 2 – September 3, 2018
WoodmereArtMuseum
FOREWORD Now in its seventy-seventh iteration, the Woodmere Annual is a different exhibition every year. Each juror, since the late 1940s, has been asked to take the reins of our mission to tell the stories of the arts in Philadelphia. The juror’s first task is to write a call to artists that can be specific or broad, encouraging artists who live within a fifty-mile radius of the Museum to submit up to five works for consideration. The juror makes selections (this year, seventy six artists chosen from over six hundred submissions) that collectively express something important: a statement about the “state of the
C-Venture Vesica, 2008, by William Daley (Courtesy of Thomas William Daley)
arts” in our city. It is no surprise that with different jurors, a different call, and different artists every year, the collective equilibrium is always distinct. But
in the movement of the body across time and
the resulting difference in messaging from year to
space, whether through deliberate movement
year also comes from artists developing ideas and
and migration or through passive flow or forced
making aesthetic choices in response to changing
displacement. As described in the pages of this
social and cultural exigencies.
catalogue, Carpenter understands that Philadelphia
We could not be more excited to work with Syd Carpenter as the juror of this year’s Annual. A professor of studio art at Swarthmore College,
artists are declaring an “alert,” demanding that we pay attention because there is a great deal at stake as we respond to the pressures of our time.
she is a sculptor of exquisite elegance, power, and
Carpenter, like every juror, has been asked to include
intellectual force. Coincidentally, we are honored to
her own work in the exhibition, and we are pleased
have welcomed her work into our collection, having
to be showing Storage 1 (2017). She has also been
acquired her Everelena Cannon (2009) this year.
asked to select works by Philadelphia artists from
Thank you, Syd, for organizing an exhibition that
Woodmere’s collection, thereby offering a historic
expresses your point of view on the vitality of the
perspective. Carpenter’s choices of Selma Burke’s
arts in our city.
bronze portrait bust of Mary McLeod Bethune (a
This year’s presentation resonates on three levels of engagement that are central to Carpenter’s own work: first, an investigation of the natural landscape that frames the experiences of life or the cityscaper; second, a consciousness of the physicality of the body that occupies space and is the vessel through which we feel and react; and third, aninterest 4
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recent gift from the renowned historian Charles M. Blockson), and Barbara Bullock’s Trayvon Martin, Most Precious Blood (2013–14) declare as much identification as reverence for two black women artists with penetrating political insight and brilliant virtuosity in their respective mediums.
Transition, 2017, by Joan Wadleigh Curran (Courtesy of the artist)
As always, Woodmere is grateful to the generous funders who make the Annual possible. For more than five years we have been honored by support from the Drumcliff Foundation and from Jeanne Ruddy and Victor Keen. I am grateful to Woodmere’s staff, especially Rachel McCay, Sally Larson, ElieAnne Chevrier Lewis, Chrissy Warhola, and Rick Ortwein, who were the organizing force that made the exhibition a reality. Thank you, everyone, for believing in the Annual as a statement of the creative vitality of our city. WILLIAM R. VALERIO, PHD
The Patricia Van Burgh Allison Director and CEO
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A CONVERSATION WITH SYD CARPENTER
On April 10, 2018, Syd Carpenter, juror of The Woodmere Annual: 77th Juried Exhibition, sat down with William Valerio, Woodmere’s Patricia Van Burgh Allison Director and CEO; Hildy Tow, the Robert L. McNeil, Jr. Curator of Education; Rick Ortwein, Deputy Director of Exhibitions; Rachel McCay, Assistant Curator; and Stephanie Marudas of Kouvenda Media, co-host and producer of Woodmere’s Podcast Diving Board, to discuss the show. WILLIAM VALERIO: Syd, thank you for organizing
the Woodmere Annual this year. We want our juried show to be a different exhibition every time, and you’ve selected a new universe relative to last year’s show. I thought we might start by talking about the specifics of your call to artists. You brought together three elements. SYD CARPENTER: First, I want to say how exciting
it was for me to be a part of this, to be invited to look at Philadelphia-area artists. I’m familiar with a lot of the work, but it’s nice to see who’s coming up, who’s doing what, and the level and the quality of work being made. I wanted to include work that reflected on intersections of body, land, and movement. VALERIO: I’m guessing that some works in the
exhibition address one of those elements more directly than the other two, while others really bring them all together in a way. Could you tell us about one work that explores all three elements? CARPENTER: We see all three elements in Kukuli
Velarde’s Saint Anna and the Virgin Mary as a Child (2013/16). We see portraiture; the horizontal head is a self-portrait. We see representation of natural forms. We see an artist who is an immigrant, and 6
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Saint Anna and the Virgin Mary as a Child, from the series Corpus, 2013/16, by Kukuli Velarde (Courtesy of the artist)
who established herself in the art world. Besides
able to integrate her own image and her child’s
that, the work is a tour de force of craftsmanship.
image into an object that is celebratory but also
VALERIO: It looks like it’s looking back to ancient
Peruvian moche pottery. CARPENTER: Exactly. She often references pre-
Columbian pottery and sculpture in her work. She comments extensively on the experience of
commemorative. VALERIO: What you’re saying, to me at least, is that
it’s moving through time and space. She refers back to pre-Columbian times and right up to the present in her reference to her own journey in life.
the immigrant, and the experience of colonialism.
CARPENTER: That’s an important theme for the
Her works are always powerful, besides being
show itself: work that makes connections that are
imaginative in terms of their use of iconography,
contemporary and timely through things that are
materials, and the juxtapositions of different forms
very poignant to the artists themselves, but also
from pottery to sculpture to self-portraiture. It’s
makes reference to a larger historical conversation.
a confluence of different languages, all in a very
Artists themselves are aware of the time in which
animated conversation.
they’re living. Pay attention is what I hear them
VALERIO: There’s a real tenderness in the mother’s
saying in their work.
gaze to the child and the touch of the hand on the
STEPHANIE MARUDAS: What do you know about
mother’s face. It gives a sensory dimension to the
her immigration story?
sculpture that you feel while looking at it. The mixing of different elements in different registers, from two dimensions to three dimensions, is also one of the fascinating features of pre-Columbian sculpture. In the bottommost register are flat patterns of verdant plants, with flowers and vines that are growing. Then it’s as if that floral element becomes three dimensional, coming from the earth and holding the pink cup and embracing the figurative part of the sculpture above. The blackware—a ceramic that’s fired and oxidized in certain ways to get that color—is in play with the earthen red-brown color in a way that is found in the treatments of pre-Columbian artists. CARPENTER: There’s a lushness to the subject.
Even if you’re unfamiliar with pre-Columbian pottery or sculpture, you’re going to immediately be aware of the lushness and the decorative quality. There’s also a loaded nature, as it references pre-Columbian history as well as her own personal history. She’s
CARPENTER: She is from a very well-known family
in Peru. She came to the United States, I think in the 1980s. She was in New York. She’s also a painter with enormous virtuosity; because of the skill of her painting her family expected her to be the greatest painter Peru ever produced. Instead, she stayed in the United States and gravitated towards clay. She did a residency at the Clay Studio here in Philadelphia, which is where she met another powerful artist, Doug Herren, who was doing a residency at the time. They’ve joined forces, and I say that very particularly—forces—because the two of them are a force in terms of what they’re doing as artists in the city. Herren has two pieces in the show. He makes these architecturally beautiful structures that reference the body as well as architecture. There’s this sense of transition from one form to another. There’s a certain gravitas to them, but at the same time THE WOODMERE ANNUAL: 77TH JURIED EXHIBITION
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they’re playful. They engage you, but as you look
of course there’s the architectural reference. The
you see they really comment on environment, on
sculptures are constantly shifting. They’re in motion.
structure, on architecture, on place, while having
Their configuration is such that as you look, you can
a conversation with color and form. There’s
anticipate them changing, shifting, moving.
sophisticated thinking in these pieces. That’s why I think of the two artists as this force.
VALERIO: It’s very interesting as a complement
to Velarde’s work, because where hers seems to
VALERIO: These are anthropomorphic and
grow out of the earth, his seems to grow out of the
figurative.
city, which is the man-made thing. It’s constructive,
CARPENTER: Very much so. You can find the
figure; there are animals, there are human forms,
constructed. You feel how it’s made. CARPENTER: His sculptures have an association
with the built environment and things that are linked. These are assemblages. They have a structural integrity. They’re not going to fall apart. They’re autonomous. They’re strong. He’s sculpting with disjunctive forms.
Green Vase Cluster, 2012, by Douglas Herren (Courtesy of Peters Projects Gallery)
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Orange Chromatic Ewer, 2015, by Douglas Herren (Courtesy of Peters Projects Gallery)
At the same time, when you look at Velarde’s piece
of agitation. He’s certainly talking about a certain
there’s an orderly quality to it. There’s a strong
kind of potential for movement. These colors are
verticality to it in terms of the stacking, one thing
indicative of our own state of mind. In this era we’re
supporting another. There’s no sense of a form
deluged with information and this necessitates
possibly shifting or undermining another. There’s
intensity.
stability, which supports the mother-child theme that she seems to be describing in her piece in this show. Saint Anna and the Virgin Mary as a Child suggests being held and holding and supporting. In Herren’s pieces, you’re looking at this cacophony of angles and shifting parts, and imminent movement.
HILDY TOW: Under the chartreuse there is orange
that you see coming out in the edges. You get this sense of layering. He draws attention to the edge, which is important because of the disjunctive forms he’s using, which you talked about earlier.
His sculptures are about to change shape. There’s
CARPENTER: Yes, his work reveals that it’s
a Rube Goldberg feeling to it that this thing, if you
manmade. The bits of orange coming through imply
turn your back on it, is going to rearrange itself
that there’s surface beneath, there’s something
spontaneously.
supportive underneath. This thing has evolved to
VALERIO: The color is interesting too—loud colors.
You have to be confident as an artist to use these colors.
this state of green. In other words, if the orange were not there, we would read it completely differently. I think it would appear manufactured, whereas this thing exhibits a past. It exhibits youth,
CARPENTER: You can’t move through an urban
it exhibits experience, because there’s this other
environment without seeing colors that stand for
stuff underneath. Evolution is important in an object
caution or “watch out.” They also communicate
because it gives it a sense of time. The underlayer
“come buy me, come look at me.” It’s part of our
is one of those clues, one of those signals, that the
visual language. It’s part of our environmental signal.
viewer picks up on even if not immediately.
It has to do with association because we don’t associate those colors on certain kinds of forms. In terms of our aesthetics, we tend to appreciate the subdued, the organic. In terms of good taste we might think maybe that should be more bronze-like in tone. That palette would be more comfortable, more expected. In terms of what Herren is referencing, however, the brilliance, the intensity, the attention-grabbing quality is a required aspect of the object.
VALERIO: One of Woodmere’s requests of the
Annual’s juror is to include her or his work in the exhibition along with works from Woodmere’s own collection to create conversations across time in the art of our city. I was thrilled when you chose to include one of the newest additions to our collection, a very powerful and very meaningful gift from Charles Blockson. He recently came to the Museum and gave us this small bust of the educator Mary McLeod Bethune by Selma Burke, one of
To try to subdue it would imitate a bygone era
the great twentieth-century sculptors. I think it’s
when sculptors always moved toward the bronze
a beautiful arc through time to include Burke, and
surface, because it was associated with a certain
Barbara Bullock, whose work you also selected, and
kind of dignity. I don’t think Herren is trying to
your own work—three generations of black women
invoke dignity. He’s talking about a certain kind
artists who work with the body. THE WOODMERE ANNUAL: 77TH JURIED EXHIBITION
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Trayvon Martin, Most Precious Blood, 2013–14, by Barbara Bullock (Woodmere Art Museum: Museum purchase, 2014)
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it becomes a talisman to me, and the importance of it being touched and held is one of the most attractive aspects of this piece. You can make a physical connection with it. McLeod Bethune is an icon of culture and history, but now accessible in this size. The fact that you just handed it to me makes it more of a powerful, personal statement. I can hold this image in my hand and I feel a connection to her and to the history that she represents in this scale. This connection speaks once again to the communicative power of sculpture. Bullock’s piece represents trauma. We need to understand that Trayvon Martin represents a shudder, a bodily shudder, that our country needs to acknowledge, and she has represented it brilliantly in a piece that first engages you because of its exquisite visual qualities. It’s drawing in space with a magnetic materiality. She suggests a torso, but then Bust of Mary McLeod Bethune, date unknown, by Selma Hortense Burke (Woodmere Art Museum: Gift from the private collection of Charles L. Blockson, 2018)
there’s this explosive quality coming from the piece. It represents being pulled screaming and kicking to the truth. It’s important that artists use this opportunity right now. It’s so important for artists
CARPENTER: Yes, I selected Barbara Bullock’s
Trayvon Martin, Most Precious Blood. This is about representation and self-representation. It’s about representing in art our own story, and I think that’s a key point to be made always. As African American artists who are women, and over time—and as you pointed out, the three generations—you can see the poignancy of the personal in each of these works. When I observed the Selma Burke piece of Mary McLeod Bethune, I looked at the animation. I look
to take this time to represent, and to talk about and acknowledge their experience. So much of the work in the show is doing that. Bullock epitomizes the things that I was trying to bring together in this exhibition, trying to find work that really zeroes in on the body as a site of expression, as a reflection of the traumatized state that our country is in and not acknowledged by a large portion of the citizens. RACHEL MCCAY: Which works of yours will be
included?
at the positive gesture in this, the optimism, but at the same time there is a knowing. The fact that it’s a small piece is also poignant. The scale of this piece suggests that it should be held. For that reason THE WOODMERE ANNUAL: 77TH JURIED EXHIBITION
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Storage 1, 2017, by Syd Carpenter (Courtesy of the artist)
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Life Forms II (Parent Material), April 2017, by Heather McMordie (Courtesy of the artist)
Life Forms III (Topography), April 2017, by Heather McMordie (Courtesy of the artist)
contains, who provides, who’s on the land. It also references history and talks about storage. I wanted to explore how an iconic figure, a mother, can be represented in a number of ways, including as a symbol of stability and persistence. That’s the key or the most tangible thing I want to express—this Life Forms IV (Climate), April 2017, by Heather McMordie (Courtesy of the artist)
sense of persistence, forward thinking, reaching back to the past, but also being very much aware of your present, and anticipating a future.
CARPENTER: I created a series that represents my
own mother and the land as a provider. It’s mixed media: clay and glass, and the glass contains lentils. It’s a presentation of her as an iconic figure who
MCCAY: I can’t wait to see it. RICK ORTWEIN: Can we look at two other artists
selected whose work relates to the piece by Barbara Bullock? One is Heather McMordie.
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CARPENTER: In selecting these pieces, I was first
TOW: It’s a collograph. To make a collograph you
drawn to how evocative they were of a microcosm
take some kind of surface, whether it’s paper, fabric,
and a macrocosm and at the same time, of earth.
cardboard, or you create a surface, and you make
I see decay, as well as birth, rebirth, and growth.
a print of that. She uses something from the world
Once again, there’s this sense of things changing.
and makes it into a print, which she then cuts up,
When you look at them in comparison to Barbara
shreds, and makes into something else. Her work is
Bullock’s piece, there seems to be a similar use of
such an interesting evolution of raw materials.
process, in terms of cut paper, splicing, assembling. Bullock references a visceral quality of body and flesh and McMordie’s references trees, branches, earth, soil, roots. When you’re looking at them, you realize there’s a connection between the two, from the visceral qualities represented in the exploded body of Trayvon Martin, and then those same kinds of gestures, those same kinds of marks, those
CARPENTER: She’s also taken something flat and
made it dimensional in an unexpected way. Also she combines the requirements of careful, systematic making that you associate with printmaking with chance, serendipity, and improvisation. That, to me, is what’s appealing about them, besides the fact that they evoke the land.
same kinds of pairings and intertwinings are also
MCCAY: One of the trends that resulted from your
representative of the evolving state of a natural site.
call to artists is a number of works that depict the
There’s a visual language in both that represents
human form floating or appearing or disappearing
how two artists can be powerfully expressive using
in indistinct spaces. Two years ago, our call to artists
similar means.
asked them to respond to Philadelphia as a place,
ORTWEIN: McMordie’s pieces begin with a print,
so she actually makes a work of art and then destroys it in order to make something else. This also demonstrates the decay and repurposing you mentioned. CARPENTER: Her use of prints is interesting. Prints
are printed, numbered, and then it’s done. She’s creating material for a work that will grow out of the print. The print is just the beginning of something that’s going to evolve into something else. I like that our perception of printmaking is one that can be expanded upon. In other words, it’s not finished— it’s only as finished as the person who looks at it and says, “Well, that’s the end in and of itself.” I like that extension, the possibility of it. She can take a print, which is typically numbered and succinct, and through stages of destruction and recreation and rebirth, a whole different object emerges. 14
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but you’ve made your call so much more broad and the submissions reflect that open-ended character. Works like Cynthia Porter’s Laying Figure, Todd Lauther’s Man in Water, and John Carlano’s Untitled (White Men), are a few examples. CARPENTER: A lot of that was showing up in
the photography. These photographers took a certain kind of license in their location of the body. This is also a result of what the technology itself can provide. The works you mentioned are very evocative and remove the body from the corporeal perception we have of it. Locating these figures in different environments that question our sense of stability and place by dissolving the figures, swathing the figures, immersing them in liquid, in water—all of these things deny the solidity and stability of our bodies. These works explore the body as a transitory element.
Untitled (White Men), from the series Folly, 2016, by John Carlano (Courtesy of the artist)
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Laying Figure, 2018, by Cynthia Porter (Courtesy of the artist)
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Man in Water, 2016, by Todd Lauther (Courtesy of the artist)
MCCAY: They are evolving as well. CARPENTER: Yes, they appear to evolve as they
emerge or disappear.
CARPENTER: A lot of these images reminded me
of fetuses in utero. I love that artists have depicted a fetus-like state in a mature or older body, or a body in different kinds of transitions. These
VALERIO: This conversation reminds me of the
images are characterized by transition, the mature
writings of Ta-Nehisi Coates. His conversation about
body encased, enveloped by liquid, by cloth. They
the body—specifically the black body—is in relation
question our sense of time and being and where
to politics and the violent, destroying inequality of
we are. What time is it? Where am I in this stage of
our institutional systems. He writes about the body
development? How far along am I? Are those early,
as a real thing and as a container of the soul, and
early sensory experiences still tangible? Am I still in
how the treatment of people in society manifests
touch with that?
itself in posture and in the visceral experiences of life itself.
In Sophie Sanders’s Ophelia II the figure is submerged in liquid in a bathtub. We see only the THE WOODMERE ANNUAL: 77TH JURIED EXHIBITION
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TOW: Sanders’s work is a photopolymer intaglio. It’s
a solar etching based on her photograph. Having made this kind of print myself, it is truly remarkable. The tones on her back are just extraordinary. It’s absolutely beautiful. CARPENTER: All of these artists also use the body
to represent a state of vulnerability and exposure. VALERIO: James Morton’s American Dream is
another very arresting image. It’s declarative and overtly political. Above the man’s head is the motto E pluribus unum from the US dollar, then there’s an American flag, a pile of skulls, and a symbolic goatheaded demonic creature. CARPENTER: You have two things in opposition:
on one side you have the American flag and it’s promise; on the other side, you have a black male looking down. The pile of skulls references a body count. The demonic symbols in the center are an interpretation of the conversation between the flag and the subject, which is the black male on the right. Ophelia II, 2017, by Sophie Sanders (Courtesy of the artist)
Morton includes emblems. When you look at the figure of this black male who is in the prime of his arc of her spine and body and hips. The photograph has a nebulous feeling to it, but at the same time there’s a feeling of comfort. Maybe these artists are thinking of a longing, a return to that protective space, a return to those origins. They’re all beautiful photographs. There isn’t a sense of revulsion. All of these figures are in a relaxed state. There’s a wonderful, poetic quality to these
life, the strength of his body is demonstrated, but at the same time he’s looking down. You can’t see where his hands are, but you’re looking at all these different emblems in contradiction to each other. The proportions of the image are almost like a banner. It’s almost as if it’s a flag. VALERIO: How do you read the emotions of the
figure?
older bodies in spaces that could possibly represent
CARPENTER: The words E pluribus unum are a
a return to the uterus.
promise, but at the same time they’ve turned out to
VALERIO: And returning to the earth.
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be a lie. Looking at the gesture of the young man who looks down and sees the evidence of the lie
American Dream, 2017, by James Morton (Courtesy of the artist)
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Shine, February 2017, by Cheryl Tracy (Courtesy of the artist)
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in the skulls, he expresses sorrow, bitterness, and
CARPENTER: The photograph is of a black
questioning.
male sitting in a pose that is associated with
Throughout history, the contradictions, the betrayals, are so evident between the flag and the black male body. Anyone looking at this photograph is going to be aware of the trauma, a sense of betrayal, a sense of all of these different contradictions.
the Buddha. There is a sense of enlightenment and otherworldliness. I was first attracted to the elegance of the photograph. I like the contradiction of thinking about the black male in terms of this level of ethereal peace. To me, this is a wonderful connection to the Morton photograph, to see this kind of ethereal beauty and glow and peace
It’s timely that this image shows up when they’ve
coming from a body that is generally associated
just opened the museum in Montgomery, Alabama,
with the opposite. She defies how we perceive
to commemorate and acknowledge lynchings in
the black male body and instead she has located
this country, primarily of black males, but also of
him in an elevated, beautiful, spiritual space. This
children and women. I think it’s important that
is in defiance of what would be imposed upon him
images like these are out there. As much discomfort
just living every day in a pressurized society that
and maybe resentment and outrage as they may
sees him as a victim, a perpetrator, a predator, but
cause, it’s time. Artists are acknowledging that the
refuses to see his humanity.
conversation can be with art making, that we can begin there as opposed to going to Facebook or going to a newspaper or watching Fox News. You come to a museum and have these kinds of truths presented to you in the form of art. VALERIO: I remember a landmark exhibition at
the Whitney Museum, Black Male: Representations of Masculinity in Contemporary American Art, organized by Thelma Golden in 1994. She posed the question of “the male body” as a subject. What’s happened in our society since that time, through the traumas and public knowing about Trayvon
VALERIO: One of the gorgeous things about the
photograph is the proximity of his fingers to that gnarly tree root. The tiny little space between his fingernails and the tree root gives a delicacy and buoyancy to the whole image. Something we have to talk about is the crossover in your selections between what we traditionally consider to be the craft arts and the fine arts. The blending and mixing of these spheres comes across very strongly in your own work, Syd, as in many of your selections.
Martin and so many others, is that the unequal
CARPENTER: What’s important is not so much
experience of black male life in the US has become
the media and the process, it’s the level of
part of our conversations in society, a reckoning.
expressiveness that’s achieved through their skills
Another image that caught my attention is Cheryl Tracy’s Shine. The figure is glowing from the lightness of his shirt.
as makers. Whether we’re looking at craft media, whether it be a Bill Daley piece, working in clay, or we’re looking at a Ken Vavrek or some other pieces that make reference to function, if those objects are not evoking a response, they’re not effective. Vavrek’s work references painting. He is certainly THE WOODMERE ANNUAL: 77TH JURIED EXHIBITION
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having a conversation with early modernism, but at the same time these are plates. You could serve food or present them in that kind of functional way, but they are visual paintings done in media that we typically associate with craft. As tedious as it is, we’re still having that conversation. The object is only as good as the person making it, and if they choose to do it in the form of a plate, if they choose to do it in the form of a mug, it’s still the level of visual language that they bring to bear on it. To make distinctions about this being high art or low art—I think it wastes time. You have to look at the actual object and see what the artist has achieved in that object. What kind of language are they using? What attracts you to that object? What are they telling you? VALERIO: Bill Daley’s ceramics are amazing; they
feel like the body, like organs, like vessels. They have
Untitled pl217, 2017, by Ken Vavrek (Courtesy of the artist)
such a confidence to them as well. CARPENTER: He has advanced his expressive
abilities. They seem to be popping out of the seams
am I going to retrieve from seeing this body of work
of his creativity. His ceramics are so viscerally
together?
potent when I look at them. They’re fleshy but they’re architectural. They’re old but they’re new.
I think that the perceptive viewer will be able to pick
Two thousand years ago, if someone saw these
up on those connections, but at the same time, if
pieces, they would recognize them, but at the same
you’re someone who’s not accustomed to looking at
time, we see this completely contemporary and
objects in these groupings, you’ll be able to wander
modern interpretation of form and observation.
through and find conversations going on, find threads between one piece and another. When you
MARUDAS: What do you hope visitors walk away
look across the balcony down to the floor, you’ll be
with after having seen the show?
able to make a connection.
CARPENTER: Coming into a museum and seeing
Roberto Lugo uses these ancient, traditional
this eclectic but connected group of works I hope
Chinese forms, but he imposes contemporary
raises questions about, why is this next to that? Is
images on them to make comments about
there a conversation between these objects? Are
important societal issues. A visitor might look at
they talking to each other? What kind of insights
his work and say, “That reminds me of this ginger
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jar my grandma has—but look at that person on
In curating this show, I’m looking for those clues,
it! That’s Whitney Houston!,” or some other iconic
those subtle murmurings and connections that
figure from history. We can use accepted forms of
someone may pick up on and want to return to the
interpretation and representational status, and also
show again and again to confirm that, and to see
have them be informative and maybe pull the rug
different threads that make stronger connections
out from under our perception of how those objects
the more they engage the exhibition.
should be seen or presented. The inexperienced looker is going to come in and see things that are appealing and maybe unsettling,
MCCAY: You picked a great show. VALERIO: Thank you, Syd.
and it will make them ask questions about the objects themselves. I’m always encouraging my students to provide clues without being obvious all the time. You can be overt, but at the same time you should include subtle murmurs that you discover over time.
Above left: Whitney Houston/Shirley Chisholm Urn, 2017, by Roberto Lugo (Courtesy of the artist and Wexler Gallery) Photograph by Kenek Photography; Above right: Ma Rainey and Blind Tom, 2017, by Roberto Lugo (Courtesy of the artist and Wexler Gallery) Photograph by Kenek Photography THE WOODMERE ANNUAL: 77TH JURIED EXHIBITION
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THE WOODMERE ANNUAL: 77TH JURIED EXHIBITION WORKS IN THE EXHIBITION SYD CARPENTER, JUROR
American, born 1953 Storage 1, 2017 Clay, glass, steel, wood, 55 x 40 x 31 in. Courtesy of the artist
BERNADETTE ANDREWS
American, born 1944 Boathouse Row, 2016 Original picture stitched by hand, 8 x 10 in. Courtesy of the artist
TABITHA ARNOLD
American, born 1995 Panopticon, 2018 Wool and cotton yarn on rug warp cloth, 24 x 36 in. Courtesy of the artist
Right: Church and State, 2018, by James Brantley (Courtesy of the artist)
Left: 10/365/2017 I Am, 2017, by Elena Bouvier (Courtesy of the artist) Right: 20/365/2017 In My Power, I Am Magic, 2017, by Elena Bouvier (Courtesy of the artist)
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WOODMERE ART MUSEUM
Boathouse Row, 2016, by Bernadette Andrews (Courtesy of the artist)
Bound and Bounded, or Meiners’ Folly, 2017, by Jake Beckman (Courtesy of the Production Language Factory)
Shoreline, 2018, by Randall Exon (Courtesy of Hirschl and Adler Modern, New York)
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What Was I?, 2015, by Cari Freno (Courtesy of the artist)
My Studio Interior with Fig Tree, 2018, by Daniel Dallmann (Courtesy of the artist)
Valley Broom, 2018, by Eva Wylie (Courtesy of the artist)
Hollow, 2018, by Jason Starin (Courtesy of the artist)
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WOODMERE ART MUSEUM
Above Far Left: Rally Together, from the series Come Together, 2018, by Kathleen Spicer (Courtesy of the artist). Above: That Which Requires No Battle, 2018, by Terri Saulin (Courtesy of the artist)
My Luck’s Gonna Change (Philadelphia 802), from the series Philadelphia Project, 2013, by Michael Penn (Courtesy of the artist)
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Faith and Fate, December 2016, by Barbara Bix (Courtesy of the artist)
JAKE BECKMAN
HENRY BERMUDEZ
ELENA BOUVIER
Bound and Bounded, or Meiners’ Folly, 2017 Found objects, 19 x 8 x 6 in.
Eve, 2016 Acrylic paint, glitter, canvas, 84 x 54 in.
10/365/2017 I Am, 2017 Dye-infused aluminum, 16 x 16 in.
Courtesy of the Production Language Factory
Courtesy of the artist
American, born 1982
Venezuelan, born 1951
American, born 1962
Courtesy of the artist
ELENA BOUVIER MARIE BENDER
American, born 1955 Sticks and Stones, 2013 Oil on panel, 20 x 32 in. Courtesy of the artist
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WOODMERE ART MUSEUM
BARBARA BIX
American, born 1960 Faith and Fate, December 2016 Glass smalti, tempered glass with paper underlay and handcrafted Milagros grouted to a two sided metal base, 42 x 16 x 60 in. Courtesy of the artist
American, born 1962 20/365/2017 In My Power, I Am Magic, 2017 Dye-infused aluminum, 16 x 16 in. Courtesy of the artist
Formed to Fit, 2015, by Jennifer Rubin Garey (Courtesy of the artist) Half-Full, 2017, by Anthony Bowers (Courtesy of the artist)
ANTHONY BOWERS
American, born 1984
Half-Full, 2017 Organza, dyed wool, wood, paint, zipper, 28 x 34 x 8 in. Courtesy of the artist
JAMES BRANTLEY
American, born 1945 Church and State, 2018 Acrylic on canvas, 24 x 48 in. Courtesy of the artist
GREGORY BRELLOCHS
American, born 1973 Organicist Mindscape II, 2016 Graphite on paper, 36 x 36 in. Panopticon, 2018, by Tabitha Arnold (Courtesy of the artist)
Courtesy of the artist THE WOODMERE ANNUAL: 77TH JURIED EXHIBITION
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Sphaera Oculus, 2017, by Jenna Hannum (Courtesy of the artist)
iPad, 2018, by Keith Sharp (Courtesy of the artist)
Reverie of the Puppets, February 2018, by Kathy Rose (Courtesy of the artist)
Belly Pile, February 15, 2018, by Chelsea Nader (Courtesy of the artist)
Divest, 2018, by Dganit Zauberman (Courtesy of the artist)
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Join My Swim Team, 2016, by Yixuan Pan (Courtesy of the artist)
Daydrawing 180310, 2018, by Christopher T. Wood (Courtesy of the artist)
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Mushroomcloudhead 3, 2017, by Berna Can Lustig (Courtesy of the artist)
EMILY BROWN
ANNE BUCKWALTER
Pickaxe, 2017 Vitreous enamel on hand-blown glass, 8 x 10 1/4 in.
Rattler, from the series The Groundskeepers, 2018 Gouache on paper, 22 x 30 in.
Untitled (Dark Cycle), from the series Folly, 2017 Archival inkjet print, 15 1/2 x 20 in.
Courtesy of the artist
Courtesy of the artist
Courtesy of the artist
EMILY BROWN
ANNE BUCKWALTER
JIMMY CLARK
American, born 1943
American, born 1943
American, born 1987
American, born 1987
JOHN CARLANO
American, born 1956
American, born 1952
Holding, 2017 Vitreous enamel on hand-blown glass, 10 1/2 x 9 in.
Yawn in the Lawn, from the series The Groundskeepers, 2018 Gouache on paper, 22 x 18 3/4 in.
Cauldron, 2016 Sawdust-fired ceramic on stone and steel stand, 12 1/2 x 15 in.
Courtesy of the artist
Courtesy of the artist
Courtesy of the artist and Gravers Lane Gallery
INGA KIMBERLY BROWN
BERNA CAN LUSTIG
American, born 1970
Turkish, born 1975
Tea Time in the Henhouse of the Long Hairs, December 2016 Oil on canvas, wood, ceramic tile, twenty-four-karat gold leaf, human hair, down feathers, 60 x 70 in.
Mushroomcloudhead 3, 2017 Acrylic and painted paper collage on paper, 10 x 18 1/2 in.
Courtesy of the artist
JOHN CARLANO
Courtesy of the artist
Untitled (White Men), from the series Folly, 2016 Archival inkjet print, 22 1/2 x 30 in. WOODMERE ART MUSEUM
American, born 1952 Still Life, 2018 Sawdust-fired ceramic with found glass shards, 14 x 12 x 10 in. Courtesy of the artist and Gravers Lane Gallery
American, born 1956
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JIMMY CLARK
Courtesy of the artist
Above left: Organicist Mindscape II, 2016, by Gregory Brellochs (Courtesy of the artist) Above right: Eve, 2016, by Henry Bermudez (Courtesy of the artist)
PATRICK CONNORS
JOAN WADLEIGH CURRAN
KEN DERENGOWSKI
Schuylkill River Viaduct, View from the East Bank, Clearing Fog, 2018 Oil on linen, 36 x 42 in.
Transition, 2017 Oil on canvas, 48 x 48 in.
Collection of Henry Bernstein and James Fennell
WILLIAM DALEY
The Greatest Generation: Bouncing Betty, 2010–16 Sterling silver and found object, 4 x 5 1/4 x 2 3/4 in. Courtesy of the artist
SCOTT COOPER
C-Venture Vesica, 2008 Unglazed ground stoneware with white grog, 15 x 29 x 24 in
American, born 1958
American, born 1988
American, born 1950
Courtesy of the artist
American, born 1925
Rowdy Vessels, 2017 Earthenware, four vessels, approx. 6 x 9 x 5 in. each
Courtesy of Thomas William Daley
Courtesy of the artist
American, born 1942
MATTHEW COURTNEY
American, born 1959
Rockets_House, 2017 Fired clay, four rockets, each 63 x 23 in. Courtesy of the artist
DANIEL DALLMANN
American, born 1974
KEN DERENGOWSKI
American, born 1974 The Greatest Generation: Radar, 2010–16 Sterling silver and found object, 3 1/2 x 7 x 5 in. Courtesy of the artist
Equatorial, 2017 Oil on linen, 28 x 28 in.
KEN DERENGOWSKI
American, born 1974
Courtesy of the artist
The Greatest Generation: Torpedo, 2010–16 Sterling silver and found object, 3 x 6 1/2 x 4 in.
DANIEL DALLMANN
American, born 1942 My Studio Interior with Fig Tree, 2018 Oil on linen, 16 x 16 in.
Courtesy of the artist
Courtesy of the artist
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Top: Deep in the Valley, 2009, by Eric Goldberg (Courtesy of The Old Print Shop, New York) Bottom: Tic Tac Doe, 2016, by Patricia Moss-Vreeland (Courtesy of the artist)
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Left to right: Untitled_#17-09, 2017; Untitled_#17-06, 2017; Untitled_#17-04, 2017; Untitled_#15-08, 2015, by Janice Merendino (Courtesy of the artist)
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Above Left: Rattler from the series The Groundskeepers, 2018, by Anne Buckwalter (Courtesy of the artist). Left: Untitled (Dark Cycle) from the series Folly, 2017, by John Carlano (Courtesy of the artist). Above: Yawn in the Lawn from the series The Groundskeepers, 2018, by Anne Buckwalter (Courtesy of the artist)
PERKY EDGERTON
American, born 1953 American Girl, 2015 Oil, wax, paper collage on canvas, 41 1/4 x 61 in.
RANDALL EXON
JENNIFER RUBIN GAREY
Shoreline, 2018 Oil on canvas, 20 x 34 in.
Formed to Fit, 2015 Cast bronze and fabricated steel, 56 x 10 x 1 in.
American, born 1956
Courtesy of Gross McCleaf Gallery
Courtesy of Hirschl and Adler Modern, New York
EVAN EISNER
CARI FRENO
American, born 1955 Aftermath, March 2018 Steel, 48 x 32 x 6 in. Courtesy of the artist
American, born 1982 What Was I?, 2015 HD video, 00:03:24 excerpt from 00:16:59 total work Courtesy of the artist
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WOODMERE ART MUSEUM
American, born 1985
Courtesy of the artist
ERIC GOLDBERG
American, born 1946 Deep in the Valley, 2009 Etching and aquatint, 7 3/4 x 21 in. Courtesy of The Old Print Shop, New York
MICHAEL GRIMALDI
JENNA HANNUM
PATRICIA INGERSOLL
Interior, 2018 Oil, chalk, wax, and charcoal on board on panel, 38 x 24 in.
Sphaera Oculus, 2017 Graphite on paper, 45 x 45 in.
Arrangement, 2017 Acrylic on paper, 15 x 15 in.
Courtesy of the artist
Courtesy of the artist and Cerulean Arts
DOUGLAS HERREN
PATRICIA INGERSOLL
Back and Forth, 2016 Oil on linen, 28 x 24 in.
Green Vase Cluster, 2012 Ceramic and enamel paint, 23 x 12 x 10 in.
Tumbling, 2018 Acrylic on paper, 10 3/4 x 10 3/4 in.
Courtesy of the artist
Courtesy of Peters Projects Gallery
MICHAEL GROTHUSEN
DOUGLAS HERREN
Twilight in the Forest, 2016 Oak and fir, 6 1/2 x 27 x 8 in.
Orange Chromatic Ewer, 2015 Ceramic and casein paint, 21 x 22 x 10 in.
Architecture of Remembering, 2017 Wood-fired white stoneware, four of nine parts, 1 x 4 x 9 in.
Courtesy of Peters Projects Gallery
Courtesy of the artist
American, born 1971
American, born 1976
American, born 1948
Courtesy of the artist
DEBORAH GROSS-ZUCHMAN
American, born 1947
American, born 1966
Courtesy of the artist
American, born 1962
American, born 1948
Courtesy of the artist and Cerulean Arts
JENNIFER JOHNSON
American, born 1961
American, born 1962
American Girl, 2015, by Perky Edgerton (Courtesy of Gross McCleaf Gallery) THE WOODMERE ANNUAL: 77TH JURIED EXHIBITION
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Equatorial, 2017, by Daniel Dallmann (Courtesy of the artist)
Interior, 2018, by Michael Grimaldi (Courtesy of the artist)
The Greatest Generation: Bouncing Betty, 2010-16, by Ken Derengowski (Courtesy of the artist)
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Hollow, 2018, by Jason Starin (Courtesy of the artist)
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Right: Cauldron, 2016, by Jimmy Clark (Courtesy of the artist and Gravers Lane Gallery)
The Greatest Generation: Torpedo, 2010-16, by Ken Derengowski (Courtesy of the artist)
Tea Time in the Henhouse of the Long Hairs, December 2016, by Inga Kimberly Brown (Courtesy of the artist)
LEROY JOHNSON
American, born 1937 Market/Frankford El, 2016 Acrylic, photo collage, and mixed media on canvas, 48 x 72 in. Courtesy of the artist
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WOODMERE ART MUSEUM
The Greatest Generation: Radar, 2010-16, by Ken Derengowski (Courtesy of the artist)
JOANNE KARPOWITZ
SARAH KAUFMAN
American, born 1940
American, born 1981
Upheaval, 2014 Fired clay, 14 x 18 in.
Devil’s Pool Bathers, 2016/2018 Archival pigment print, 40 x 40 in.
Courtesy of the artist
Courtesy of the artist
Schuylkill River Viaduct, View from the East Bank, Clearing Fog, 2018, by Patrick Connors (Collection of Henry Bernstein and James Fennell)
Still Life, 2018, by Jimmy Clark (Courtesy of the artist and Gravers Lane Gallery)
MICHAEL KOWBUZ
ROBERTO LUGO
HEATHER MCMORDIE
Blinds, 2017 Ink, watercolor, and gouache on Arches paper, 8 x 10 in.
Whitney Houston/Shirley Chisholm Urn, 2017 Porcelain, china paint, luster, 9 x 9 x 16 in.
Life Forms II (Parent Material), April 2017 Assemblage of hand-cut collograph proofs and collograph matrix, 13 x 12 x 4 in.
Canadian, born 1966
Courtesy of the artist and Cerulean Arts
American, born 1981
American, born 1989
Courtesy of the artist and Wexler Gallery
Courtesy of the artist
MICHAEL KOWBUZ
Canadian, born 1966
Corner, 2017 Ink, watercolor, and gouache on Arches paper, 10 x 8 in. Courtesy of the artist and Cerulean Arts
ROBERTO LUGO
American, born 1981
HEATHER MCMORDIE
Ma Rainey and Blind Tom, 2017 Porcelain, china paint, luster, 8 1/2 x 8 1/2 x 17 1/2 in. Courtesy of the artist and Wexler Gallery
MICHAEL KOWBUZ
Canadian, born 1966
Side Window, 2017 Ink, watercolor, and gouache on Arches paper, 8 x 10 in. Courtesy of the artist and Cerulean Arts
American, born 1989
Life Forms III (Topography), April 2017 Assemblage of hand-cut collograph proofs and collograph matrix, 15 x 10 x 4 in. Courtesy of the artist
MICHELLE MARCUSE
South African and American, born 1957 The Other Side, 2018 Cardboard, water-based media, 25 x 27 x 29 in. Courtesy of the artist
TODD LAUTHER
American, born 1985 Man in Water, from the series Between the Devil and the City 2016 Archival inkjet print, 24 x 30 in. Courtesy of the artist THE WOODMERE ANNUAL: 77TH JURIED EXHIBITION
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WeedRock, 2017, by Don Nakamura (Courtesy of the artist)
Back and Forth, 2016, by Deborah Gross-Zuchman (Courtesy of the artist)
Market/Frankford El, 2016, by Leroy Johnson (Courtesy of the artist)
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WOODMERE ART MUSEUM
Architecture of Remembering, 2017, by Jennifer Johnson (Courtesy of the artist)
Penn Treaty Park, 2018, by Dave Walsh (Courtesy of the artist)
Forest Prayer, 2018, by Andrea Packard (Courtesy of the artist)
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Holding, 2017, by Emily Brown (Courtesy of the artist)
Pickaxe, 2017, by Emily Brown (Courtesy of the artist)
Twilight in the Forest, 2016, by Michael Grothusen (Courtesy of the artist)
HEATHER MCMORDIE
JANICE MERENDINO
JANICE MERENDINO
Life Forms IV (Climate), April 2017 Assemblage of hand-cut collograph proofs and collograph matrix, 17 x 22 x 7 in.
Untitled_#15-08, 2015 Pastel and ink on paper, 46 x 13 in.
Untitled_#17-06, 2017 Pastel and ink on paper, 42 x 11 in.
Courtesy of the artist
Courtesy of the artist
JANICE MERENDINO
JANICE MERENDINO
Untitled_#17-04, 2017 Pastel and ink on paper, 47 x 12 1/2 in.
Untitled_#17-09, 2017 Pastel and ink on paper, 41 x 11 in.
American, born 1989
American, born 1952
American, born 1952
Courtesy of the artist
American, born 1952
Courtesy of the artist
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WOODMERE ART MUSEUM
American, born 1952
Courtesy of the artist
Idea of American Exceptionalism, 2016, by Jay Roth (Courtesy of the artist )
JAMES MORTON
American, born 1942 American Dream, 2017 Digital composite, 20 1/2 x 32 in. Courtesy of the artist
IFE NII OWOO
YIXUAN PAN
American, born 1952
Chinese, born 1991
Thanksgiving, 2013 Acrylic-painted papers and canvas on collaged canvas, 29 x 26 in.
Join My Swim Team, 2016 Video, projector, headphone, chair, 00:01:00 Courtesy of the artist
Courtesy of the artist
PATRICIA MOSS-VREELAND
American, born 1951
Tic Tac Doe, 2016 Oil and acrylic on canvas, 40 x 48 in. Courtesy of the artist
CHELSEA NADER
American, born 1985 Belly Pile, February 15, 2018 Terra cotta clay, 10 feet x 10 feet overall Courtesy of the artist
DON NAKAMURA
American, born 1955
MICHAEL PENN
American, born 1969
YINKA ORAFIDIYA
American, born 1980 Freedom Cups (Group), 2018 Underground Railroad code printed on hand-built red stoneware, iron oxide, underglaze, slip, glaze, 4 1/2 x 3 x 2 in.
My Luck’s Gonna Change (Philadelphia 802), from the series Philadelphia Project. 2013 Digital inkjet print, 12 x 18 in. Courtesy of the artist
Courtesy of the artist
CYNTHIA PORTER
American, born 1958 ANDREA PACKARD
American, born 1963
Forest Prayer, 2018 Mixed media on carved wood panels, 84 x 59 in.
Laying Figure, 2018 Archival inkjet print on silk, 77 x 42 in. Courtesy of the artist
Courtesy of the artist
WeedRock, 2017 Stoneware with slip and underglaze decoration, 18 x 21 x 15 in.
PAUL RIDER
Courtesy of the artist
Courtesy of the artist
American, born 1962 02, 2016 Archival pigment print, 36 x 36 in.
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Cry . . . Don’t Cry, 2014, by Doug Smock (Courtesy of the artist and Gravers Lane Gallery)
KATHY ROSE
SOPHIE SANDERS
CHARLES SCHMIDT
Reverie of the Puppets, February 2018 Video, 00:05:15
Ophelia II, 2017 Photopolymer intaglio print, 23 x 17 in.
Star Pool, 2017 Oil on linen, 24 x 48 in.
Courtesy of the artist
Courtesy of the artist
JAY ROTH
TERRI SAULIN
Idea of American Exceptionalism, 2016 Archival pigment print, 15 x 20 in.
That Which Requires No Battle, 2018 Porcelain clay with celadon and luster glazes, 13 1/2 x 8 x 9 in.
American, born 1949
American, born 1975
Courtesy of the artist
American, born 1970
American, born 1965
Courtesy of the artist
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WOODMERE ART MUSEUM
American, born 1939
Courtesy of the artist
JOHN SEVCIK
American, born 1951 Under Betzwood Bridge, 2018 Oil on canvas, 12 x 24 in. Courtesy of the artist
Push Over, 2015, by Rita Siemienski Smith (Courtesy of the artist)
Beltway, 2018, by Kathleen Shaver (Courtesy of the artist and Reading Art Works, Reading, Pennsylvania)
Under Betzwood Bridge, 2018, by John Sevik (Courtesy of the artist)
KEITH SHARP
American, born 1968 iPad, 2018 Archival pigment print, 17 x 25 in. Courtesy of the artist
RITA SIEMIENSKI SMITH
KATHLEEN SPICER
Push Over, 2015 Acrylic on canvas, 48 x 48 in.
Rally Together, from the series Come Together, 2018 Oil on wood, 24 x 24 x 2 in.
American, born 1941
Courtesy of the artist
American, born 1959
Courtesy of the artist
KATHLEEN SHAVER
American, born 1952
Beltway, 2018 Oil on canvas, 72 x 52 in. Courtesy of the artist and Reading Art Works, Reading, Pennsylvania
DOUG SMOCK
American, born 1956 Cry . . . Don’t Cry, 2014 Graphite on 8 ply rising museum board, 32 x 40 in. Courtesy of the artist and Gravers Lane Gallery
JASON STARIN
American, born 1976 Hollow, 2018 Glazed stoneware, 13 x 15 x 15 in. Courtesy of the artist
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O2, 2016, by Paul Rider (Courtesy of the artist)
Rowdy Vessels, 2017, by Scott Cooper (Courtesy of the artist)
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Thanksgiving, 2013, by Ife Nii Owoo (Courtesy of the artist) Photograph by Nathea Lee. WOODMERE ART MUSEUM
Arrangement, 2017, by Patricia Ingersoll (Courtesy of the artist and Cerulean Arts)
Tumbling, 2018, by Patricia Ingersoll (Courtesy of the artist and Cerulean Arts)
Above: Freedom Cups (Group), 2018, by Yinka Orafidiya (Courtesy of the artist); Far Left: Devil’s Pool Bathers, 2016/2018, by Sarah Kaufman (Courtesy of the artist)
THE WOODMERE ANNUAL: 77TH JURIED EXHIBITION
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Daydrawing 180226, 2018, by Christopher T. Wood (Courtesy of the artist)
Rockets_House, 2017, by Matthew Courtney (Courtesy of the artist)
Daydrawing 180305, 2018, by Christopher T. Wood (Courtesy of the artist)
JASON STARIN
KEN VAVREK
DAVE WALSH
Hollow, 2018 Glazed stoneware, 18 x 11 x 8 in.
Untitled pl217, 2017 Glazed stoneware, 26 ¼ x 21 x 3 in.
Penn Treaty Park, 2018 Oil on canvas, 60 x 69 in.
Courtesy of the artist
Courtesy of the artist
Courtesy of the artist
CHERYL TRACY
KUKULI VELARDE
ROBERT WINOKUR
Shine, February 2017 Inkjet print on San Gabriel Baryta Fine Art paper, 11 x 14 in.
Saint Anna and the Virgin Mary as a Child, from the series Corpus, 2013/2016 Ceramic, 36x 19 x 13 in.
Little Orvieto, c. 1999 Salt-glazed stoneware with slips and engobes and blue wood ash glaze, 21 1/2 x 10 1/2 x 6 1/4 in.
Courtesy of the artist
Courtesy of the artist
American, born 1976
American, born 1965
Courtesy of the artist
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WOODMERE ART MUSEUM
American, born 1939
American, born Peru 1962
American, born 1987
American, born 1933
Little Orvieto, c. 1999, by Robert Winokur (Courtesy of the artist)
CHRISTOPHER T. WOOD
EVA WYLIE
American, born 1979
SELECTIONS FROM THE PERMANENT COLLECTION
Daydrawing 180226, 2018 Graphite on paper, 9 x 12 in.
Valley Broom, 2018 Screenprint on silk, acrylic on cut wood, and embroidery, 16 x 23 ½ in.
BARBARA BULLOCK
American, born 1979
Courtesy of the artist
Courtesy of the artist
CHRISTOPHER T. WOOD
American, born 1979
Daydrawing 180305, 2018 Graphite on paper, 9 x 12 in. Courtesy of the artist
DGANIT ZAUBERMAN
Israeli and American, 1965 Divest, 2018 Oil on board, 8 x 10 in. Courtesy of the artist
American, born 1938
Trayvon Martin, Most Precious Blood, 2013-14 Acrylic, matte medium, and watercolor paper, 66 x 31 in. Woodmere Art Museum: Museum purchase, 2014
SELMA HORTENSE BURKE
CHRISTOPHER T. WOOD
American, 1900-1995
Daydrawing 180310, 2018 Graphite on paper, 9 x 12 in.
Bust of Mary McLeod Bethune, date unknown Cast metal, 8 x 5 x 4 ½ in.
American, born 1979
Courtesy of the artist
Woodmere Art Museum: Gift from the private collection of Charles L. Blockson, 2018
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Left: Corner, 2017, by Michael Kowbuz (Courtesy of the artist and Cerulean Arts)
Side Window, 2017, by Michael Kowbuz (Courtesy of the artist and Cerulean Arts)
Blinds, 2017, by Michael Kowbuz (Courtesy of the artist and Cerulean Arts)
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Upheaval, 2014, by Joanne Karpowitz (Courtesy of the artist)
The Other Side, 2018, by Michelle Marcuse (Courtesy of the artist)
Aftermath, March 2018, by Evan Eisner (Courtesy of the artist)
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Star Pool, 2017, by Charles Schmidt (Courtesy of the artist)
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WOODMERE ART MUSEUM
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.
Support provided in part by The Philadelphia Cultural Fund.
Š 2018 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. Photography by Rick Echelmeyer unless otherwise noted. Catalogue designed by Woodmere Art Museum and edited by Gretchen Dykstra. Front cover: Sticks and Stones (detail), 2013, by Marie Bender (Courtesy of the artist) THE WOODMERE ANNUAL: 77TH JURIED EXHIBITION
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