The Woodmere Annual: 75th Juried Exhibition

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TheWoodmereAnnual 7 5 th J U R I E D E X H I B I T I O N

The Condition of Place June 4–August 28, 2016


Woodmere extends sincere thanks and appreciation to the Drumcliff Foundation and Victor Keen and Jeanne Ruddy for their support of the exhibition and digital catalogue.

TheWoodmereAnnual 7 5 th J U R I E D E X H I B I T I O N

The Condition of Place June 4–August 28, 2016


Foreword by William R. Valerio 2 A Conversation with Odili Donald Odita 4 Works in the Exhibition 20

June 4–August 28, 2016


FOREWORD The Woodmere Annual is an exciting event that

And Odita determined early on that Edith Neff’s

takes on a different personality every year. We give

Swimming Pool at Hunting Park (1977) would be

our juror carte blanche to shape the exhibition,

the only work from Woodmere’s collection on view

not only in choosing from among the hundreds

(albeit away from the main installation). Neff’s

of submissions, but also in determining how to

picture, a depiction of black and white children

include works from Woodmere’s collection and

playing in a public swimming pool, struck a cord

in adding their own art to the mix. For each juror,

with him. As described later in the pages of this

the exhibition evolves into a statement about a

catalogue, the painting reminded him of an early

specific aspect of the art being made in our city.

experience as a parent who had just relocated

And it becomes a dialogue about the juror’s own

to Philadelphia with his multiracial family, and

participation in the history of the visual arts.

the magnificent experience of the urban fabric:

This year, it has been a great pleasure to work with Odili Donald Odita, who broke the mold in several

grand, integrated, and positive, but not without its overtones of peculiarity.

ways, not least in curating a show whose bright

Building on his reaction to Neff’s painting, Odita

shapes and Pop-like content virtually jump off our

further conceived of the show as the development

walls. For Odita, Philadelphia is a city of energy, life,

of an idea: in his call to artists, he sought out

and intense color. He also made a “move” that no

submissions that describe Philadelphia’s unique

previous juror has made: breaking into the historic

“condition of place.” What does it mean to live

galleries of the Museum. In our Parlor Gallery,

and work in this city? What is Philadelphia about?

Kristen Taylor’s Gentle Conquest (2015), a living still

As described in these pages, the narrative on

life with a hosta plant in a bucket of soil, offers a

Philadelphia is multivalent. While not lacking in

counterpoint to nineteenth-century landscapes and

decay and strife (hence, Aissulu Kadyrzhanova’s Big

Hudson River paintings. Also beautifully integrated

Skull N2 [2015], and Charles Hall’s Woke [2015]),

into that space are TJ Hunt’s untitled sculpture of a

the exhibition offers a view of the city that resides

cigarette butt extinguished in a pile of pristine white

neither in realist traditions nor in depictions of

sand (2016), James Maurelle’s Nile (2014), and Mark

struggle or ugliness. Instead, it makes a statement

Klett and Byron Wolfe’s Stereoscopic iPad Viewer

about Philadelphia’s flair, its depth, and its history.


The Woodmere Annual can only take place because

In addition, Odita made the wonderfully audacious

of our generous supporters. We are happy to

decision to pull apart the great circular sofa in our

acknowledge the Drumcliff Foundation and Victor

Katherine M. Kuch Gallery for use it as a platform

Keen and Jeanne Ruddy, whose steady support,

for Michael Taylor’s installation. In this way, the

continuing from previous years, means we can plan

architectural elements of the building itself have

the exhibition with a clear mind to organizing the

been recruited in new ways to participate in the

best possible show. Rick Ortwein and Rachel McCay,


on Woodmere’s staff, are the organizing backbones



of the Annual, and they have done their usual superb job. Thank you all.


The Patricia Van Burgh Allison Director and CEO

Untitled, 2016, by Natasha Gusta (Courtesy of the artist) THE WOODMERE ANNUAL: 75TH JURIED EXHIBITION



On April 17, 2016 artist Odili Donald Odita sat down with Rachel McCay, Assistant Curator; Rick Ortwein, Deputy Director for Exhibitions; and William Valerio, the Patricia Van Burgh Allison Director and Chief Executive Officer to discuss the Woodmere Annual: 75th Juried Exhibition – The Condition of Place. RICK ORTWEIN: We’re here to discuss the

ODITA: Those are great things to consider. When

Woodmere Annual, our seventy-fifth juried

I mention this city’s importance, I’m thinking

exhibition. This year’s show is the first to start with

of its academic production—the production of

a theme” “the condition of place.” We’ve offered our

students who are going out into the world—as

jurors the option to create a theme in the past, but

increasingly important. I’m also thinking of the

they’ve never taken us up on it. Generally, a theme

increasing importance of its art schools, in the way

develops after reviewing submissions. So this year is

that they’re competitive with art schools across

already unique from that standpoint.

the country. Boston is like Philadelphia in that it

ODILI DONALD ODITA: Learning some of the

history that you’ve shared with me about previous Annuals and considering the mission of this Museum and the community, I felt I needed to ask if I could make a proclamation about Philadelphia, or ask what it means to make work here, as I do, or understand the growing importance of the city within the contemporary art world. The idea of “the condition of place” was my way of making a summation of the ways we can look at Philadelphia

has a great number of universities and academic institutions. The faculty are helping students go on to really great places, whether it be artist residencies, graduate programs, or competitive graduate programs across the country, such as the Whitney Studio Program, or the Core Program in Houston. If I were to really look back at the record, I could say that this has always been the case in Philadelphia, but in these competitive times, I notice those things even more.

as a city. How does this city color an artist’s vision,

What I’ve always felt during my time here teaching

thinking, actions, movements? It’s an important

at the Tyler School of Art is that Philadelphia may

place, because its history is profound.

recognize its great revolutionary history, its Civil

WILLIAM VALERIO: Part of the history of American

democracy is the struggle for equality. We know that historically our society has not been truly equal among all people, and a lot of this dialogue has played itself out in Philadelphia.

War history, its Underground Railroad history, and things of that nature, but it gives short shrift to its cultural history, particularly the twentiethcentury history. I’m talking about music, literature, the visual arts, and even dance. The city lags behind in recognizing all the important tangential connections it has to art movements that are significant to American art. To me this is a type of



poverty that doesn’t need to be. The city needs to

see its other gross national product, if you will, and all its other wealth, and find ways to enrich itself Left: White Face, 1974, by Frank Bramblett (Courtesy of the artist)

with it. My show is a kind of projection through this lens. I think there’s great value in what is being made here in Philadelphia; it’s of great importance,

Below: Highboy, 1973, by Frank Bramblett (Courtesy of the artist)

and it’s connected to things that have happened in the US. It’s not just an isolated, regional kind of consideration. I think the issues that artists concern themselves with here are connected to this greater sense of what’s happening in the US. Philadelphia is an important hub within an intellectual creative network, and I see this exemplified in my students. They leave here, and they go to LA, they go to Chicago, they go to Madison, they go to New York, they go to Miami, they go to Europe. They’re going places across the country and outside of it, carrying their experience and their sense of what it meant to be in Philadelphia. VALERIO: Are there particular works in the show

that express some of those ideas?

Above: Tremendous Pressure, 2016, by TJ Hunt (Courtesy of the artist) Below: Great Yards, 2016, by TJ Hunt (Courtesy of the artist)

ODITA: There are so many. T. J. Hunt submitted

images that are like screens from silent movies. She

emptied out and stay empty, stay dead. It’s not

selected and modified quotes from a 1920s film

Detroit. It’s had this industrial change, but you don’t

called Black Sunlight about anthracite coal mining

perceive it as a place that’s on life support. This is a

in Pennsylvania. One image reads, “Tremendous

city that reinvents itself all the time. And yes, it is a

pressure”; another reads, “Great yards like this are

poor city, but as we said earlier, there’s great wealth

filled and emptied daily.” These become poetic.

here. It’s just a matter of how you engage that wealth

I feel that she’s contemplating American cities similar to Philadelphia that were once rich with industry, but now have become something else. The question becomes, how can this space transform into something else and stay lively and important?

and reinvest it into a city that’s as grand now as it was in the past. How do we allow people to see, recognize, and appreciate, and then take advantage of the grandness to create new things rather than wanting it to be what it used to be?

Philadelphia is unlike those cities that we’ve seen



The Philadelphia Museum of Art is a world-class

live and produce in New York anymore. It’s just too

museum. When I first came to the city, I learned

expensive. I went to Florida and taught there for

that the museum’s collection was built by people

six years. I left New York to get into a tenure-track

who had an ambitious vision of what it could be.

position, because it was just so competitive. The key

When you look at their modern collection, it feels

thing that helped me after leaving New York was

as if the continuity of that vision kind of stops after

the Internet. People were saying to me, “Odili, don’t

the 1950s, but it starts up again when considering

leave New York, you’re crazy to leave.” And now in

their current program of modern and contemporary

hindsight I say, “We have the Internet.”

exhibitions. Certain Philadelphian neighborhoods too feel as if there was an investment up to a certain point, and then it stops. You can see this in some parts of Germantown, for example. Did the crack epidemic push things out of the city? Does the way that the city deals with its tax structure push people and businesses outward? And why now are different people coming from outside of city to invest and make things happen here?

VALERIO: Yes, you can stay connected. A lot of the

raw creativity that I remember from the New York of my own younger days—I grew up in New York—I see now in Philadelphia. This is an affordable city; it’s an intellectual city; it’s a creative city that is at an important and interesting moment. You spoke the other day about Edith Neff’s Swimming Pool at Hunting Park. Why did that picture inspire some of your thinking about the condition of place?

ORTWEIN: What’s interesting is that you came

from New York to Philadelphia. You got a job here, and then you moved here. That wasn’t so much the case when I was a student at Tyler in the early 1980s. Most of the faculty, at least in the painting department, lived in New York and came down two or three days a week, and they went back. There was no sense of engagement with the city. There was even some very anti-city sentiment. People would say, “I hate Philadelphia!” What caused the change? Because now that feeling seems to be the exception to the rule. Tell me if I’m wrong, but Tyler faculty seem to be largely engaged in the mentorship of the current students, year-round and

Swimming Pool at Hunting Park, 1977, by Edith Neff (Woodmere Art Museum: Gift of Drs. Herbert and Faith Cohen, 2014)

post-graduation. ODITA: I think more artists live here because of

ODITA: I have to say it’s personal, but it also has to

economics. New York has gotten bigger. It has

do with the story of how I really came to

spread out because of economics. People couldn’t

understand Philadelphia. When my wife, my

afford to live where they were living, so they found

daughter, and I first moved here in 2006, my

other places. Today, the average person can’t really

daughter was three years old. During our first weeks



Night Time, 2015, by Odili Donald Odita (Collection of Ifeanyi Aliya Odita) THE WOODMERE ANNUAL: 75TH JURIED EXHIBITION


the first year we lived here. We met a lot of people there, just by playing there. My daughter would play in the empty pond and run around and we’d watch. We met people there and made some friends. I’ve felt that this city is a collaborative engagement. At the same time, though—and this is what I want to explore in this exhibition—it’s not about looking blindly at reality in a rosy cinematic sense. RACHEL MCCAY: After reviewing the submissions,

was there anything about the artists’ reflections on Philadelphia that surprised you? Surface Charge 2, 2014, by Odili Donald Odita (Courtesy of the artist and Jack Shainman Gallery, New York)

ODITA: There were over four hundred submissions.

Going through them, I was shocked at a certain point by the limited understanding that some in the city, we would just walk around and see

people had of what it means to be in the urban

things and we went to the fountain in Logan Square

environment. There were a lot of straight-up

on the Parkway.

negative depictions of bleakness, desperateness,

VALERIO: Yes, Swann Memorial Fountain by

Alexander Stirling Calder.

sometimes even of “the self.” I really didn’t want to engage with that narrow idea. I didn’t want this show to be filled with the sensational and the

ODITA: Exactly. My daughter has always been an

singular. I was amazed that a large number of the

outside kid: she went into that water and took her

artists had this one-sided view of things without

shoes off and was jumping all over the place. All

flipping it around to see how else it could be seen

these other kids were jumping in there, too. My

or understood. I call it a junkie aesthetic. It’s almost

wife started to cry because she was so happy to

a form of self-abuse, inasmuch as it’s an abuse of

see her play in that water. We came from living in

the city. Maybe this stems from feelings of being a

Tallahassee. It’s a beautiful place, too, but it was not

“second city” or a “third city.” If Philadelphia wants

diverse. Arriving in Philadelphia was like entering

to compare itself to New York, then you’re going

into an optimistic space of civilized possibilities.

to generate this kind of second-class sense of self-

Neff’s painting reminds me of that moment,

defeat. But if one asks how Philadelphia is distinct,

because that pool has all sorts of people from all

that’s an important mentality to be able to work

sorts of places in it.

toward. That’s when you build something unique versus wanting to try to be like something else.

In Philadelphia, there’s a sense of immersion that’s really interesting to me. The pool and the fountain

VALERIO: What I’m hearing from you is that the

are apt symbols for this feeling.

exhibition is a portrait of Philadelphia. Philadelphia can be a joyous green city that you can somersault

We’d also often go to Rittenhouse Square during 8


your way through, as in Orange Moon by Tyler

about the skull, it would create a certain mood and slow down the energy. VALERIO: This is not a dark show. ODITA: No. Frank Bramblett and I talked about

this quite a bit. He was interested in this idea of “the game.” And the thing about the game, what makes it so vital, is that you can win, but you can also lose. This is the energy of life. MCCAY: What do you hope visitors will learn from

the show? ODITA: Well, I hope, that they’ll reflect on the

Wilkinson. But it can also be a city where death and decay are present, as in Patrick Connors’s Late Winter, Laurel Hill Cemetery Ridge or in Aissulu Kadyrzhanova’s Big Skull N2. ODITA: Yes, both happiness and sadness are

present. I like filmmakers that create a tension and balance between these two things. I like Bergman, Fellini, even Wes Anderson, because death is in their films and extremely traumatic things happen, but it’s balanced. If the weight of this story or this narrative in Kadyrzhanova’s painting were only

Above, left: Late Winter, Laurel Hill Cemetery Ridge, 2016, by Patrick Connors (Courtesy of the artist) Middle: Orange Moon, 2015–16, by Tyler Wilkinson (Courtesy of the artist) Above: Big Skull N2, 2015, by Aissulu Kadyrzhanova (Courtesy of the artist) THE WOODMERE ANNUAL: 75TH JURIED EXHIBITION


Above: Clark Park 2500, 2016, by Mary Henderson (Courtesy of the artist and Lyons Wier Gallery, New York, NY)

quality of work in the show, and the quality of

Park 2500 washes away all the details that you

artists here in Philadelphia. I hope they realize

see in Walnut Street. If I were to show only Walnut

that these artists have a great way of looking at

Street, this might be seen as multicultural sloganism

things, of thinking about things. The sentiment of

and reflect only the most patronizing aspects of the

vision here is parallel to that of any great city, and


it’s not about comparison, or outdoing, as much as it’s about saying there’s a profundity here that should be absorbed and taken in for what it is. I want to present an interesting story through the voices of the artists that are in the show. Hopefully people can really be excited by all these different

VALERIO: The whiteness conveys the idea of purity

in an image of leisure. I think it’s interesting that it’s juxtaposed not only with an image of diverse people, but also with the same artist choosing a completely different mode of expression.

facets of reality. Mary Henderson’s work is really

MCCAY: Her titles help to understand a number of

important to me in this regard. Clark Park 2500

issues she’s exploring in her work. Is “2500” meant

is a very white image. It’s a relief image of people

to be the year? Are we looking at Clark Park in the

picnicking—it brings up issues of class, as well as

future? Even without a date, the viewer can tell that

race. The work made me think of H. G. Wells’s The

this depiction of Walnut Street is contemporary. The

Time Machine, where the Eloi, the beautiful beings,

Phillies hat and the other clothing give that away. Is

live aboveground and the Morlocks, the ugly beings,

she making a comment on what Clark Park will be in

live underground. For me, it was important to pair

the future, on the homogenization of identity?

this with her other work, Walnut Street, because the latter shows the fabric of the city. The light in Clark 10


ODITA: Her work keeps your mind wondering. I

Above: Walnut Street, 2016, by Mary Henderson (Courtesy of the artist and Lyons Wier Gallery, New York, NY) Right: Appropriate Memory, 2016, by Filipe De Sousa (Courtesy of the artist )



American Turnpike, 2014, by Charles Hall (Courtesy of James Maurelle)

Woke, 2015, by Charles Hall (Courtesy of the artist)

think great art can ask us to think and question in

VALERIO: It’s blunt and provocative. So is Charles

the best sense. She’s asking, “Could this become

Hall’s sculpture Woke, which reads, “There is no

that, or is this a generalization of that?” The

such thing as an unarmed black man.” Whose voice

subtlety of the juxtaposition gives the viewer

is that? Is that the voice of the artist or the voice of

agency through the kind of consideration her work

the viewer?


ODITA: It’s a common thought when you watch the

VALERIO: What attracted you to Filipe De Sousa’s

news. There’s a lack of fluidity in this city. Visitors


can see multiple neighborhoods while traveling from

ODITA: To me the triptych of three videos is a really

complex narrative. The imagery is from films about the Paris Commune and the MOVE organization. It’s not a conclusive piece about either of those things, but it shows a revolutionary consciousness. How are we going to look at something this powerful within the history of the city of Philadelphia? How might somebody consider social change in the present tense when social activism might be seen as a form of terrorism? In the age of terror, we have to reinvent or reinvestigate the notion of what it means to be a revolutionary. I think this is an interesting question, particularly with MOVE being so central to what this city is, and in how the city defined itself after its actions against this group by doing what most would consider the unspeakable.

one part of the city to another, yet the walls are not necessarily that porous. We’re on top of each other in this city and yet there’s a certain sense of walled place, whether it’s academic, social, financial, or historical. This situation is very interesting for someone like me. And with gentrification, will these neighborhoods just continue to push out the old as the new comes in? Or will you have a forced overlap through common interests? Those overlaps happen with things like the Phillies and the Eagles, the Mummers Parade, public spaces like Fairmount Park and Clark Park, the universities, the Kimmel Center, the hospital, and so on. You have these places where people engage out of circumstance. These situations make this kind of magic happen. VALERIO: But at the same time, Philadelphia, like

New York, is segregated by social class. It costs a 12


lot of money to live on Rittenhouse Square. Do you have the kind of diversity on Rittenhouse Square that you have in West Philly? No. Or Chestnut Hill versus Mount Airy? ORTWEIN: The show also has great variety

stylistically. There were quite a few submissions of the park, the skyline, and City Hall, but there’s quite an array of approaches and open thought. MCCAY: I agree. When you first started talking,

if I just read this conversation without seeing the show, I would expect a very celebratory exhibition, because you take great pride in our city. But it’s not a show that celebrates Philadelphia as much as it’s a show that celebrates how many voices there are in this city and the quality of the art produced here, as you said.

Perception Is Reality, 2016, by Andrea Keefe (Courtesy of the artist) Left: Positive, 2016, by Mark Brosseau (Couresy of artist)



Belly of My Mind, 2016, by Corinna Cowles (Courtesy of the artist) Left: Magnolia, 2016, by Michael Gallagher (Courtesy of Schmidt Dean Gallery)



my sense of openness about what is possible and how you can think through things with art. I began to do curatorial projects and writing about art became a part of that. At that time I had to curate my own situation and make sense of what I was bringing together. That was also the only way that I could get my work and the work of some of my friends shown in public spaces. Eventually I focused solely on making my artwork, so I stopped doing a lot of that stuff. Ultimately, I love art, and I love working with students. I love looking at art. I love thinking about it. In a way it saved me from my own sense of boredom while growing up in the Midwest, in Ohio. In terms of abstraction as you mentioned, it’s unique to gain a better sense of what kind of abstraction is in Philadelphia, and how it’s engaged in Philadelphia, and to see how I might connect to it through my work. VALERIO: That’s interesting. I love Michael Bridge, 2016, by Max Vesuvius Budnick (Courtesy of the artist)

Gallagher’s painting. To me it’s about life itself—the energy of nature.

VALERIO: Odili, but we can’t let you off the hook

ODITA: Yes, I’d like to mention Belly of My Mind by

without asking you to talk about your own work.

Corinna Cowles. It’s a really tough painting because

There are many wonderful abstract paintings in this

it’s made of tablecloth and other nontraditional

show and you’re an abstract painter.

materials. It engages every formal structural

ODITA: My dad is an art historian, so I grew up

around art. When I left graduate school—I went to Bennington College—one of my first jobs was working with the curator, Dan Cameron, as his assistant. I also worked at the New Museum as an intern while Marcia Tucker was still running the place. I got to see a lot of work that blew my mind.

consideration on how you would construct a picture. It’s doing this in a most intelligent way. It’s fascinating to see that kind of sophistication engaged with non-traditional materials: spray paint, house paint, enamels, wallpaper, cutouts, tracing paper, shelf paper. It’s engaging a domestic trope, yet challenging that in every way possible.

I’d think, “Why is Andrea Zittel raising chickens in

VALERIO: The spider’s web in the upper left is a

the window of the New Museum?” What is that

potent metaphor for danger.

about? I was seeing a lot of things that expanded



ODITA: Yes, that’s how she’s using it. It’s a catcher

said. There’s a lot we can do with the work in these

Things get caught in it.


ORTWEIN: The Kelly green lawn runs like blood.

ORTWEIN: I think this show will be great in this

ODITA: It’s just a really tough painting. It fits in with

the historic language of painting, but it’s made by anything but. I can’t wait to see the show and see how the public receives it. Somebody in the film business once told me that you can make a bad movie from a good script, but you can’t make a

building too because it’s such an imposing home. With all the formality of the house, there’s so much informality in this work. While it’s challenging, it’s also inviting. It’s not presented in a big gold frame, or any frame at all that would set it apart. We can wrap work around a wall if we want to.

good movie from a bad script. With exhibitions,

ODITA: That informality is really important. Work

I’ve realized that you might have a good idea, but

that’s being made by students today is increasingly

if the artwork isn’t good, you can’t carry forth the

informal. There’s an attitude and an intellectualism

show. It just won’t work. I think the collection we

behind it. I like that you say this, because I want to

have here will help carry a lot forward. A lot will be

see that exact thing within this exhibition.

There Are Two Kinds of People in This World, 2015, by Matt Jacobs (Courtesy of the artist)



Alive, 2010, by Odili Donald Odita (Courtesy of the artist and Jack Shainman Gallery, New York)



Haze, 2016, by Anne Schaefer (Courtesy of the artist)

Video still of Some things lead, some follow, some blow hot, some cold (Soft Focus Sculpture), 2013, by Theresa Sterner (Courtesy of the artist)



Cosmologic Balance 2016, Michael K. Taylor (Courtesy of artist)

Gentle Conquest, 2015, by Kristen Taylor (Courtesy of the artist) Untitled, 2015, by Meghan Cox (Courtesy of the artist)




JUROR ODILI DONALD ODITA American, born Nigeria 1966 All work courtesy of the artist and Jack Shainman Gallery, New York unless otherwise specified. Alive, 2010 Acrylic on canvas, 60 x 44 in. Night Time, 2015 Acrylic on canvas, 83 1/2 x 62 3/8 x 1 1/4 in. Collection of Ifeanyi Aliya Odita Surface Charge 2, 2014 Acrylic on canvas, 20 x 26 in. Surface Charge 4, 2014 Acrylic on canvas, 20 1/8 x 26 1/4 in.

Everything Is Near, 2015, by Natessa Amin (Courtesy of the artist) Bottom, left to right: Urban Grid IV, 2015, by Michael Bartmann (Courtesy of the artist); Academy of Art, 2015, by Stephanie Knopp (Courtesy of the artist)





American, born 1987 Everything Is Near, 2015 Cement, joint compound, inkjet prints, cardboard, 40 x 8 x 8 in. Courtesy of the artist Water and Gravity, 2016 Dye, Flashe, and posterboard on canvas, 24 x 30 in. Courtesy of the artist


American, born 1979 Prologue, 2015 Pigment print, 30 x 43 in. Courtesy of the artist Substratum, 2016, by Maya Malachowski Bajak (Courtesy of the artist)


American, born 1964 Urban Grid IV, 2015 Oil on board, 36 x 36 x 2 in. Courtesy of the artist


American, born 1952 Pillar, 2015 Oil on canvas, 58 x 46 in. Courtesy of the artist


American, born 1966 Bowels, 2016 Acrylic on canvas, 16 x 20 in. Courtesy of the artist


American, born 1954 Church, 2009 Archival pigment print, digital painting, 30 x 20 in. Courtesy of the artist


American, born 1976 Positive, 2016 Acrylic, enamel, Flashe, and ink on wood, 16 x 20 in. Courtesy of artist

MAX VESUVIUS BUDNICK American, born 1993 Bridge, 2016 Graphite and oil on canvas, 48 x 60 in. Courtesy of the artist

Devil’s Pool #1, 2015, by Sarah Kauffman (Courtesy of the artist)



TERESA CERVANTES American, born 1987 1/2 Full, 2015 Found cardboard box with existing handwriting, 18 x 10 x 8 in. Courtesy of the artist Untitled (Hope Napkin), 2014 Rhinestones and paper napkin, 6 x 3 in. Courtesy of the artist JACINTHA CLARK American, born 1986 Liquid Architecture, 2016 Porcelain, dimensions vary Courtesy of the artist MOIRA CONNELLY American, born 1988 Untitled, 2016 Acrylic, oil, and enamel on canvas, 36 x 30 in. Courtesy of the artist PATRICK CONNORS American, born 1958 Late Winter, Laurel Hill Cemetery Ridge, 2016 Oil on linen, 36 x 42 x 1 in. Courtesy of the artist

Pillar, 2015, by Betsey Batchelor (Courtesy of the artist) Right: Bowels, 2016, by Jim Biglan (Courtesy of the artist)


American, born 1985 Nighttime Peperomia, 2016 Tempera and oil bar on linen, 17 x 18 in. Courtesy of the artist Untitled, 2016 Oil on canvas, 18 x 16 in. Courtesy of the artist



MATTHEW COOMBS American, born 1988 Untitled, 2015 Oil and collage on canvas, 17 1/2 x 22 in. Courtesy of the artist CORINNA COWLES American, born 1992 Nothing to Write Home About, 2015 Acrylic on sewn fabric hung from wrapped rod, 130 x 62 in. Courtesy of the artist Belly of My Mind, 2016 Acrylic and collage on plastic tablecloth, 52 x 70 in. Courtesy of the artist

Clockwise from upper left: Nighttime Peperomia, 2016, by Rebekah Callaghan (Courtesy of the artist); 1/2 Full, 2015, by Teresa Cervantes (Courtesy of the artist); Peripheral Regions, January 2016, by Nicole Dikon (Courtesy of the artist); Untitled (Hope Napkin), 2014, by Teresa Cervantes (Courtesy of the artist)

MEGHAN COX American, born 1979 Untitled, 2015 Oil on paper, 16 x 12 in. Courtesy of the artist

JONATHAN DEDECKER American, born 1992 Sonoran Little Bear, 2016 Acrylic on canvas, 64 x 64 x 2 in. Courtesy of the artist

FILIPE DE SOUSA American, born 1988 Appropriate Memory, 2016 Projected video, dimensions vary Courtesy of the artist

NICOLE DIKON Ecuadorian, born 1989 Peripheral Regions, January 2016 Woodcut monoprint, 43 x 43 in. Courtesy of the artist

ALEX ECHEVARRIA American, born 1988 ******** State of Mind, 2016 Acrylic, enamel, and spray paint on linen, 60 x 60 in. Courtesy of the artist RAPHAEL FENTON-SPAID American, born Italy 1983 Spaghetti and Snowballs, 2016 Mixed media on canvas, paint on wall, dimensions vary From the series Spaghetti and Meatball Courtesy of the artist



Spaghetti and Snowballs, 2016, by Raphael Fenton-Spaid (Courtesy of the artist)

CHARLES HALL American, born 1963 American Turnpike, 2014 Acrylic, abandoned OSHA wood planks, plastic, 120 x 120 x 20 in. Courtesy of James Maurelle Woke, 2015 Wood, acrylic, 48 x 38 x 3 in. Courtesy of the artist

Sonoran Little Bear, 2016, by Jonathan DeDecker (Courtesy of the artist)

RYAN FOLEY American, born 1985 Avalanche, March 2016 Acrylic and paper on canvas, 14 x 10 in. Courtesy of the artist KIKI GAFFNEY American, born 1971 Flight Pattern #2, Green, 2015 Acrylic and graphite on paper, 30 x 22 1/2 in Courtesy of Pentimenti Gallery MICHAEL GALLAGHER American, born 1957 Magnolia, 2016 Acrylic on panel, 48 x 45 in. Courtesy of Schmidt Dean Gallery



BRYANT GIRSCH American, born 1990 Discrete Landscape 1, 2016 Acrylic on canvas, 50 x 40 x 2 in. Courtesy of the artist NATASHA GUSTA Canadian, born 1989 Untitled, 2016 Acrylic paint, cast resin, tulle, found materials, 24 x 12 x 12 in. Courtesy of the artist

JACOB HAMMES American, born 1982 Alarm, 2015 Electric guitar and amp, timer, welded steel, 36 x 36 x 12 in. Courtesy of the artist JESSE HARROD American, born Canada Ranger 2, 2015/16 Paracord, plexiglas, metal, 67 x 16 in Courtesy of the artist MARY HENDERSON American, born 1973 Walnut Street, 2016 Gouache on Arches board, 15 x 30 in. Courtesy of the artist and Lyons Wier Gallery, New York, NY Clark Park 2500, 2016 Hydrocal and plaster, 12 x 24 x 2 in. Courtesy of the artist and Lyons Wier Gallery, New York, NY

Church, 2009, by Ava Blitz (Courtesy of the artist)

Liquid Architecture, 2016, by Jacintha Clark (Courtesy of the artist)

Prologue, 2015, by Brian Artigue (Courtesy of the artist)



Clockwise from upper left: Ranger 2, 2015/16, by Jesse Harrod (Courtesy of the artist); Untitled, 2016, by Moira Connelly (Courtesy of the artist); Untitled, 2015, by Matthew Coombs (Courtesy of the artist)



SARAH HEYWARD American, born 1990 Backyard Blues, 2016 Oil and Galkyd on panel, 60 x 72 x 2 in. Courtesy of the artist MARILYN HOLSING American, born 1946 Diagram, 2016 Watercolor, 24 x 18 in. Courtesy of Gallery Joe Schemers, 2016 Watercolor, 24 x 18 in. Courtesy of Gallery Joe GINA HOOVER American, born 1990 Posing for No One, 2014–16 Oil on canvas, 24 x 32 in. Courtesy of the artist

LYDIA HUNN American, born 1946 Home, 2016 Lead, 2 1/4 x 4 x 2 1/4 in. Courtesy of the artist River City, 2016 Copier print on board and plywood, 6 x 9 x 1 1/2 in. Courtesy of the artist TJ HUNT American, born 1985 Tremendous Pressure, 2016 Digital print on silk, 16 x 10 x 2 in. Courtesy of the artist

Great Yards, 2016 Digital print on silk, 16 x 10 x 2 in. Courtesy of the artist Untitled, 2016 MDF, white sand, cigarette butt, 12 x 12 x 36 in. Courtesy of the artist MATT JACOBS American, born 1988 There Are Two Kinds of People in This World, 2015 Dyed silk organza, dimensions vary Courtesy of the artist

Above, left to right: ******** State of Mind, 2016, by Alex Echevarria (Courtesy of the artist); Avalanche, March 2016, by Ryan Foley (Courtesy of the artist)



AISSULU KADYRZHANOVA American, born 1978 Big Skull N2, 2015 Acrylic on canvas, 60 x 48 x 2 in. Courtesy of the artist

SARAH KAUFFMAN American, born 1981 Devil’s Pool #1, 2015 Archival pigment print from medium-format film, 40 x 40 in. Courtesy of the artist

ANDREA KEEFE American, born 1971 Perception Is Reality, 2016 Ink, watercolor, and acrylic paints on paper, 20 x 15 in. Courtesy of the artist MARK KLETT American, born 1952 BYRON WOLFE American, born 1967 Mark Klett & Byron Wolfe Stereoscopic iPad Viewer with Media, 2016 Custom-designed 3-D stereoscopic iPad viewer, 13 x 11 x 9 in. Courtesy of the artists

Alarm, 2015, by Jacob Hammes (Courtesy of artist)

A Walk around the “Perched Rock,” 2010 Animated digital photographs on iPad Air, 32 seconds. Courtesy of the artists

Left to right: Discrete Landscape 1, 2016, by Bryant Girsch (Courtesy of the artist); Flight Pattern #2, Green, 2015, by Kiki Gaffney (Courtesy of Pentimenti Gallery)



Clockwise, from upper left: Diagram, 2016, by Marilyn Holsing (Courtesy of Gallery Joe); Backyard Blues, 2016, by Sarah Heyward (Courtesy of the artist); Posing for No One, 2014– 16, by Gina Hoover (Courtesy of the artist)

Photogrammetric 3-D Printed Model of the “Perched Rock,” 2016 Bronze PLA filament, 6 ½ x 3 in. Courtesy of the artists STEPHANIE KNOPP Trinidadian, born 1950 Academy of Art, 2015 Archival inkjet print, 20 x 20 in. Courtesy of the artist MARIA LEGUIZAMO Colombia, born 1988 Untitled (Table) Part I, September 2015 Wood assemblage and text on paper, 42 x 18 in. Courtesy of the artist MAYA MALACHOWSKI BAJAK American, born 1985 Substratum, 2016 Graphite and gouache on tracing paper, 48 x 20 in. Courtesy of the artist

ALICE NORMAN MANDEL American, born 1942 In the Water, 2014 Gouache and pencil on paper, 29 x 22 x 1 in. Courtesy of the artist

JAMES MAURELLE American, born 1971 Nile, 2014 Copper, solder, and paint, 44 x 17 x 10 in. Courtesy of the artist

MARK C. MARTINEZ American, born 1978 Diamond Street Treasures, 2016 Acrylic on canvas, 77 x 67 x 1 1/4 in. Courtesy of the artist

Anuok, 2015 Wood, copper, iron, jute, adhesive, 14 x 12 x 12 in. Courtesy of the artist



COLLEEN MCCUBBIN STEPANIC American, born 1970 Where I’m At, 2016 Charcoal and acrylic on canvas, 84 x 84 in. Courtesy of the artist MOLLY METZ American, born 1992 The S, 2016 Acrylic, spray paint, and pencil on canvas, 28 x 19 x 1 in. Courtesy of the artist Know the Difference, 2016 Ink jet print, acrylic, and marker on canvas, 40 x 32 x 1 in. Courtesy of the artist

KARYN OLIVIER Trinidadian and Tobagonian, born 1968 Concrete block (New Architecture), 2015 Concrete blocks and mirrors, 60 x 108 x 8 in. Courtesy of the artist Winter Hung to Dry, 2004–16 Artist’s winter clothes and line, dimensions vary Courtesy of the artist MICHELLE OOSTERBAAN American, born 1967 Night Sky, 2014 Gouache on paper, 25 x 17 in. Courtesy of the artist

JAMES MORTON American, born 1942 Jesus on Walnut Street, 2015 Photograph, 20 x 30 in. Courtesy of the artist

Land Unground Badger, 2015 Japanese rice paper, gouache, found magazine, rock, 32 x 18 in. Courtesy of the artist

ANDREW NEGREY American, born 1982 Folding Thoughtforms, 2016 Acrylic on canvas, 90 x 84 x 2 in. Courtesy of the artist

FRANCESCA REYES American, born 1993 Cardboard, 2016 Oil on panel, 8 x 6 in. Courtesy of the artist SOPHIE SANDERS American, born 1970 Philly Sound, 2015 Acrylic on etched wood, 12 x 15 in. Courtesy of the artist

ANNE SCHAEFER American, born 1979 Haze, 2016 Latex paint and silkscreen on paper and acrylic, 20 3/8 x 18 in. Courtesy of the artist BIANCA SCHREIBER American, born 1987 Proposals (New), Spring 2016 Paper, gouache, acrylic, and paper, 8 x 7 in. Courtesy of the artist LARRY SPAID American, born 1947 G. AV Tag Series #12, 2016 Acrylic on canvas, 62 x 50 in. Courtesy of the artist and Snyderman-Works Galleries, Philadelphia KARA SPRINGER Bajan, Canadian, and Jamaican, born 1980 Untitled, 2016 Digital chromogenic print, 60 x 120 in. Courtesy of the artist

Above: In the Water, 2014, by Alice Norman Mandel (Courtesy of the artist) Left: Untitled (Table) Part I, September 2015, by Maria Leguizamo (Courtesy of the artist)



THERESA STERNER American, born 1985 Tilted Arc Collage, 2013 Paper collage, 8 1/2 x 11 in. Courtesy of the artist Some things lead, some follow, some blow hot, some cold (Soft Focus Sculpture), 2013 One-minute excerpt of a 13-minute looped video Courtesy of the artist KRISTEN TAYLOR American, born 1982 Moon, Weather Emotions, 2016 Graphite on newsprint, 36 x 45 in. Courtesy of the artist Gentle Conquest, 2015 Hosta plant, five-gallon bucket, fans, AC/DC adapter, pine, 16 x 16 x 49 in. Courtesy of the artist MICHAEL K. TAYLOR American, born 1979 Cosmologic Balance, 2016 Wood and gold paint, dimensions vary Courtesy of the artist

JON WEARY American, born 1987 Black-Eyed Susans, 2015 Oil and acrylic monotypes collaged on paper, 26 1/4 x 40 in. Courtesy of the artist

MISHA WYLLIE American, born 1988 Box, 2014 Carpet, steel, and zip ties, 48 x 48 x 48 in. Courtesy of the artist

SENECA WEINTRAUT American, born 1988 Night Walkers, 2015 Graphite, pastel, crayon, and collage on paper, approx. 60 x 84 in. Courtesy of the artist

Dictionary Poem: Bowl, 2016 Collage and ink on paper, 9 1/2 x 8 3/4 in. Courtesy of the artist

LAUREN WHEARTY American, born 1985 The Surprise, 2015 Oil on panel, 30 x 24 in. Courtesy of the artist TYLER WILKINSON American, born 1990 Orange Moon, 2015–16 Oil and charcoal on linen, 60 x 72 x 2 in. Courtesy of the artist KENNETH WINTERSCHLADEN American, born 1993 A Balance, 2015 Graphite, ink, enamel, and acrylic on panel, 36 x 26 x 1 1/2 in. Courtesy of the artist

Left to right: Diamond Street Treasures, 2016, by Mark C. Martinez (Courtesy of the artist) Nile, 2014, by James Maurelle (Courtesy of the artist) THE WOODMERE ANNUAL: 75TH JURIED EXHIBITION


SELECTION FROM THE PERMANENT COLLECTION EDITH NEFF American, 1943–1995 Swimming Pool at Hunting Park, 1977 Oil on canvas, 53 x 70 in. Woodmere Art Museum: Gift of Drs. Herbert and Faith Cohen, 2014

Clockwise from upper left: The S, 2016, by Molly Metz (Courtesy of the artist); Where I’m At, 2016, by Colleen McCubbin Stepanic (Courtesy of the artist); Jesus on Walnut Street, 2015, by James Morton (Courtesy of the artist); Light House I, 2016, by Megan McGlynn and Laura Sallade (Courtesy of the artists)



Clockwise from upper left: River City, 2016, by Lydia Hunn (Courtesy of the artist); Folding Thoughtforms, 2016, by Andrew Negrey (Courtesy of the artist); Concreteblock (New Architecture), 2015, by Karyn Olivier (Courtesy of the artist); Land Unground Badger, 2015, Michelle Oosterbaan (Couresty of the



Clockwise from upper left: Philly Sound, 2015, by Sophie Sanders (Courtesy of the artist); Cardboard, 2016, by Francesca Reyes (Courtesy of the artist); G. AV Tag Series #12, 2016, by Larry Spaid (Courtesy of the artist and Snyderman-Works Galleries, Philadelphia); Proposals (New), spring 2016, by Bianca Schreiber (Courtesy of the artist)



Above: Untitled—Detail View, 2016, by Kara Springer (Courtesy of the artist) Bottom, left to right: Black-Eyed Susans, 2015, by Jon Weary (Courtesy of the artist); Night Walkers, 2015, by Seneca Weintraut (Courtesy of the artist)



Clockwise from upper left: Mark Klett & Byron Wolfe Stereoscopic iPad Viewer with Media, 2016, by Mark Klett and Byron Wolfe (Courtesy of the artists); The Surprise, 2015, by Lauren Whearty (Courtesy of the artist); Box, 2014, by Misha Wyllie (Courtesy of the artist); Dictionary Collage: Handle, 2016, by Misha Wyllie (Courtesy of the artist)



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 2016 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. Catalogue designed by Gabrielle Turgoose and edited by Gretchen Dykstra Front cover: Orange Moon, 2015–16, by Tyler Wilkinson (Courtesy of the artist) THE WOODMERE ANNUAL: 75TH JURIED EXHIBITION


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