FOREWORD
Above, left to right: Spot: iOS mobile application, 2015, by David Wiesner (Courtesy of the artist); The End of the World Monday Morning, 2016, by Abraham Murley (Courtesy of John and Ashley McGinnis)
Woodmere’s Annual, now in its 79th iteration, is
With regard to the Annual exhibition, it is uncanny
especially thought-provoking this year. As always
to pick up the threads of ideas that had been
with the Annual, the assembly of work by 48 artists
formed a year ago and realize how much our
stands on its feet as a statement about the art
thoughts have changed. Now, looking at the same
being made in Philadelphia in the present moment.
works of art, themes of fear and isolation pervade.
Yet, this particular exhibition was intended to take
The relationship of the individual to society seems a
place a year ago, and like many other projects, was
constant concern. And finally, strange juxtapositions
placed on hold due to the COVID-19 pandemic.
of forms and haunting narratives seem to portend
The selection of works had been made, but the
a world on the brink. A painting that seems to have
implementation of the show as imagined and
foreseen such changes is Chenlin Cai’s Identity
planned by our juror, David Wiesner, changed in
& Masks. An artist drawing from international life
profound ways. Since last March, our biological
experiences, he knew that masks would soon
vulnerability became viscerally apparent, and
become a presence in our lives.
countless violent tragedies forced a new urgency to address a lack of racial equity in our social contract.
4
WOODMERE ART MUSEUM
