The Woodmere Annual: 74th Juried Exhibition

TheWoodmereAnnual 74Th Juried exhibiTion

June 27 – September 7, 2015

Woodmere extends sincere thanks and appreciation to Victor Keen and to the Drumcliff Foundation

for their generous support of the exhibition and the digital catalogue.

June 27 – September 7, 2015

Contents

Foreword by William R. Valerio, Ph.D. 2

A Conversation with The Dufala Brothers 4

Works in the Exhibition 16

WoodmereArtMuseum

The Woodmere Annual 74th Juried Exhibition

2 Woodmere ArT muSeum

The Woodmere Annual takes on a different spirit

every year, due in part to the transformations in

the art of our city and the vision of our jurors. We

thank the Dufala Brothers—Steven and Billy—for

bringing great seriousness to their work as jurors,

and for their over-the-top passion for engaging

with the strange textures and weird objects and

images that fill our daily lives. In making their

selections, they considered the work of hundreds

of artists who responded to Woodmere’s open call.

Taken together, the chosen works express a jaunty,

irreverent, sometimes ironic humor. This may be

the first time that the Annual is itself one big work

of art, an installation by the Dufala Brothers that

speaks in many voices and colors. The exhibition

is organized in distinct groupings, often pairs of

works that approach a similar subject, share some

intangible connection, or utilize a similar strategy

of fabrication. In this way, they challenge us to

decipher relationships and figure out our own “take”

on difference and sameness.

Once again, Woodmere thanks the Dufala Brothers

for organizing a provocative exhibition that is

beautiful in its totality, even if they and most of the

artists included do not strive to create objects that

are beautiful in the traditional sense. Woodmere’s

staff shined as always, and Sally Larson, Rachel

McCay, Emma Hitchcock, and Rick Ortwein earned

their stripes for handling the complicated logistics

of the exhibition and its digital catalogue. Both

Victor Keen and The Drumcliff Foundation have

been our angels in supporting the Annual once

again, and for this we are deeply grateful. There is

nothing more important to any museum than

ongoing support from year to year. Our goal with

the Annual is to inspire, to explore contemporary

currents, and to make Philadelphia a more vibrant

place for artists to live and work.

WilliAM R. VAleRio, PH.D

The Patricia Van Burgh Allison Director and Chief

Executive Officer

FoReWoRD

The Woodmere AnnuAl: 74Th Juried exhibiTion 3

Good Intentions, 2015, by Holly Smith (Courtesy of the artist)


BillY DUFAlA: I’ve never sat in front of 580

submissions. Our approach was to respond to the

works without a plan. I think one of the things we

had to do was develop a way to get through it that

felt comfortable.

steVen DUFAlA: There were a couple of sessions

where we assessed what was in front of us and

asked, “OK, well, how do we make a show out of

this?”

RACHel MCCAY: There must have been a range

of responses. Knowing that you didn’t have a plan,

I won’t ask you what kind of response you were

looking for. So what kind of response were you

most attracted to?

BD: Things that made me crack up or blew my

mind.

sD: We were doing our own weird inventory of what

we were seeing in front of us. Ritva Kangasperko’s

painting blew my mind!

RM: You selected it because it was unexpected?

sD: It was just strange. There’s a guy and two tigers

reading a magazine with pictures of deer. Worlds

are colliding in that picture. We began to notice a

lot patterns and similarities. For example, there were

also a handful of chairs.

A ConVeRsAtion WitH tHe DUFAlA BRotHeRs

On April 22, 2015, artists Billy Dufala and Steven Dufala, jurors of this year’s Woodmere Annual, sat down with Assistant Curator Rachel McCay and Director of Exhibitions Rick Ortwein to discuss their selection process and the character of this year’s exhibition.

Three Friends Reading a Hunting Magazine, January 2014, by Ritva Kangasperko (Courtesy of the artist)


RiCK oRtWein: There a lot of pairs of things.

sD: Yes, that became apparent. We also included

very little abstract painting. Almost none really,

because, one, there was a ton of it, and two, it didn’t

feel especially compelling to me. It’s not that it

wasn’t compelling in general, just in the context of

looking at work by 580 artists.

BD: I wouldn’t say it wasn’t compelling, but at the

same time, when it came time to try to pull things

apart, in some kind of Dufala logic, when we were

putting it together between the two of us, it wasn’t

fitting.

sD: For me, it was a little bit more nuanced, maybe

just by virtue of me being the 2-D guy. There was a

lot of really painterly abstraction, but almost zero

graphic abstraction—if that’s a thing. Marianne

Dages (see page 6) is an exception, but that was

almost the full extent of graphic style in all the

works—there was almost none.

BD: There were a lot of color fields.

sD: There was a lot of color stuff, a lot of really

painterly stuff, but that’s not particularly interesting

to me right now, especially in terms of abstraction,

because there’s a little bit of a movement in print

media and internet-based stuff that’s using a

graphic language that seems to come from a print,

typographic, or commercial media tradition—

trades, crafts—rather than an academic painting

tradition—color, character, figurative composition

underpaintings! All of these are useful tools in

abstract painting for sure, but I think the ambitions

are different, and the histories are different.

BD: There were really profound, technically

proficient painters, like Phillip Adams (see page 7).

His work is really amazing.

sD: It’s pretty stunning.

BD: Thinking about people who were rejected,

they were absolutely incredible draftspeople with

impeccable technique, but that wasn’t what we

were responding to.

Ro: If there’s so much painterly abstraction, that

would seem to be the local trend then.

sD: I agree, but I didn’t know how to parse it into

a selective group, especially when there’s so much

weird stuff that seemed to be well outside any

prevailing discourse about how art is made. Even

though some of the artists have PAFA (Pennsylvania

Academy of the Fine Arts) connections, it’s not

left to right: Folding Chair, 2012, by Tom Judd (Courtesy of the artist); Lawn Chair, 2013, by Amy Ritter (Courtesy of the artist); Siesta, 2010, by Doug Smock (Courtesy of the artist); Chair, 2015, by Jen Brown (Courtesy of the artist)


what PAFA teaches.

Ro: When we put out the prospectus, we always

say a theme will emerge from the exhibition. People

read it and say, “Oh, you already have a theme,” or

they call and ask, “What’s your theme?” so they can

submit something that fits. Inevitably the shows say

something about contemporary art in Philadelphia.

It’s interesting that there was a plethora of painterly

abstraction, which I guess canceled itself out.

sD: I also think it may just be that it was Billy

and me looking at the pictures. In a way what we

selected says nothing about the quality of this

work or that work at all. I wonder, too, if what we’re

interested in in terms of this show has something to

do with having gone to PAFA and been immersed in

a more traditional approach for a moment in time

BD: I wouldn’t be surprised, if you dug down deep

enough, if it was directly related to that.

sD: I used to paint a lot, and it was abstract. I was

interested in color and texture. One of the trickiest

things about something like abstract painting is

that, from my own experience working that way

and from talking about it with other painters, it

really does get to be a closed pursuit for a lot

of people, where the meanings of things are so

insider. It’s a really unique and special thing, but it’s

exclusive in a way that I don’t particularly like, not

in the least because we also increasingly work in

social terms and that’s such an open and engaged

thing. As much as I love small-scale, personal, quiet

idiosyncrasies, to select work like that for this show

seemed to be running a little bit contrary to where

we’re going in our own pursuit.

BD: When I think of work that I might start,

or something I’ve envisioned in my mind, or

when we’re working on a show, I’m interested in

experiences where almost anybody could walk

away with something. There’s something about a lot

of this work that I think anybody can get something

Dictionary I, 2013, by Marianne Dages (Courtesy of the artist)


from rather than it being very exclusive.

sD: That’s absolutely true.

BD: When you go to First Friday, I’ve noticed that

things are so serious and maybe sidestepping

that seriousness informed our selections. A friend

of ours was nominated for the Pew and he asked

them, “So, has anybody funny ever gotten the

Pew?” They gazed off into space and said, “You

know, come to think of it, no.” That says something.

Even though I’m talking about being funny, now

we’re at a point in our career where a lot of our

work has been a lot more weighted in terms of the

content and is tied to more serious issues that are

relevant to all sorts of people.

sD: There are still odd juxtapositions in our work.

Even Funeral for a Home is a kind of a harebrained

scheme, which is a little funny. Even though the

subject—Mantua housing— is heavy and there’s

nothing funny about how people have been pushed

around in Mantua, what the community has dealt

with.

Ro: The title of the project is humorous.

BD: There’s nothing funny about funerals, unless it’s

for a home, but even then, it’s still sad because of

the community where it’s happening.

sD: It’s an excuse to go there and have this event

to pull the community together to get these voices

aired, and to get people there to see it. That history

is in itself not funny.

BD: It’s tragic!

sD: The goofiness, on one level, is you and me

trying to get everyone on board with our idea.

The first response from so many people when you

mentioned that project before anybody knew about

it was like, “You want to do what now?” At the very

Happy Hour, 2014, by Phillip Adams (Courtesy of the artist and Seraphin Gallery)


upper left: Communion (video still), 2012, by Jeff Brown (Courtesy of the artist) upper right: Seated Clown, 2010, by Kenneth Blumberg (Courtesy of the artist); lower left: New Arctic Explorer, 2015, by Robert Small (Courtesy of the artist); lower right: Untitled, 2014, by Lisa Boughter (Courtesy of the artist)


least they were curious.

BD: Without a doubt you solicit a response

because you’re not going to tell somebody in that

neighborhood that you want to have a funeral for a

home.

RM: The alternative might be to rent a gymnasium

and have a community forum. That seems to be

characterized by the kind of seriousness you hope

to avoid. Perhaps people aren’t interested in that

kind of exchange or are alienated by something so

formal. What you’re doing is more inclusive of the

community.

sD: Yeah. Humor and other less “formal” ways of

doing things can be an amazing way of cracking

open tough issues—it helps drop defenses, and

open things up, simply by looking sideways at

something. Our view is that this creates space in the

conversation around these tough issues for more

voices, and more perspectives, which we think on

the whole is really healthy.

BD: Yeah, I think so.

sD: We try. I’ve been doing a lot of design for

theater and dance, and with those projects you

basically start anywhere, and you organically build

the work. There isn’t a script really, maybe some

foggy notions of which direction you’re heading.

Through the course of workshops, and limited runs

of performance, you craft what ultimately becomes

the work. The awesome thing about it is that you

can start with next to nothing and end with art.

That’s how I approach almost everything. I don’t

always feel the need to have an idea, especially for

this project. That’s why we wound up eschewing the

specific call, I think. The discovery part of it is really

important to me. I think it makes you, Billy, a little bit

more nervous than it does me.

BD: Yeah.

sD: I really like going out on that limb and seeing

what’s going to happen. Something will happen.

Whatever happens, the show will open. There will

be work in there.

BD: The improvisational spirit is inherent in a lot of

things we do.

sD: I feel like all those submissions are what made

the show, not us so much. We just went through

them and found a lot of pairs, which is perfect for

us.

BD: It also sets us up so that we can integrate

ourselves.

sD: We can integrate ourselves into other pairs or

into the sci-fi room. There was a strange amount of

science-fictiony imagery. We decided to create a

whole room out of sci-fi related things.

BD: There were other things like amputees showing

up on multiple occasions. The pairing is exactly like

our dialogue, where I might finish one thing and you

might finish another.

sD: This was uncanny to me, that Jesse Friedman’s

You Eat the Pizza and Diane Ross’s Special Delivery

were both submitted.

BD: They are also very similar sizes.

sD: It just blew my mind. All we have to do is

put them both on the wall next to each other

and everyone will understand perfectly what’s

happening.

BD: It’s interesting when you can put two things

next to each other, and they’re already going back


upper: Special Delivery, 2014, by Diane Ross (Courtesy of the artist); lower: You Eat the Pizza, 2013, by Jesse Friedman (Courtesy of the artist)


and forth. I think this way of selecting the show

has a lot to do with how we make things and how

we work together. I think maybe we did a good job

because from what you guys have said there are

a lot of people in this show that might never be in

the show again. I met Read Lockhart after we made

the selections and Ballooner is from a body of work

that he doesn’t show to anybody. He’s a classically

trained painter from PAFA , but he didn’t want

to just be this academic painter. This work is the

stuff that maybe is more of his guilty pleasure, and

maybe work he’s not ready to present to the world.

I thought it was kind of funny that the work he’s not

really confident about is the stuff we picked.

sD: Well, he’s in good company. I also have no idea

what that picture means.

RM: I don’t either. You said that your work has taken

on a social dimension, but, Billy, you also work at

the recycling center. How does that inform your

work?

BD: A lot of things I find I pick up through the

trash. If this person passed away then maybe their

entire life shows up at the recycling center because

there was a cleanout, or they were evicted and the

contents of their apartment wound up there.

sD: The word trash does a disservice to the integrity

of many of the objects that come through. There’s

a waste stream, so by accident or intentionally,

things that wind up in that stream that you directly

interface with all have their own stories. Artwork

comes through. You can call it trash, but it’s a

painting.

BD: I don’t mean to call it trash. I feel like I see a

good amount of artwork. Then I show it to people

and celebrate it for a little bit and then it goes back

in. Very few things have really been rescued from

the stream.

Ballooner, 2014, by D. Read Lockhart (Courtesy of the artist)


sD: Our work has gone in that waste stream, gone

into a gallery context and gone back in.

BD: There are things that come through on a regular

basis that look just like contemporary artwork, like

little dioramas that look just like a Joseph Cornell.

There was a car wash spindle that if you turned

it upside down and put two boots on it, it would

look like a Nick Cave Soundsuit. Depending on

how you look at it and how you read into it, there’s

definitely something behind it, but I think part of

my interaction with those discarded objects on

a regular basis bled into this selection process.

The objects we’ve pulled out will undoubtedly be

included, starting with the monkey dressed in a

nurse’s outfit.

sD: I’m working on a bunch of new drawings right

now. There are two huge stacks at this point and

a bunch of miscellaneous stuff. I went through my

entire stack of last year’s worth of daily drawings.

I’m cutting it up to make new works out of it.

Ro: You’re going through your own waste stream.

sD: Yeah, and there are a couple of things that

have already popped up that make sense with this

work. I have this weird little dashed off drawing of

a fish thing that I love. I wanted to fill in our work

around the selections because I want to see the

full potential of the installation. Discreetly pairing

ourselves with other things enables us to be present

but not a focus. It’s more interesting to me to

dovetail neatly in this strange context.

Ro: Was this process a learning experience?

sD: It was for me.

BD: Yeah. It was also fun. I wonder what would

change if we approached this similar process in the

future.

sD: It was exciting. I was getting really nervous

when I realized that almost six hundred people

applied. We were both maybe feeling a little dread,

like, wow, maybe we should have pitched something

specific in the exhibition proposal. But once we

started to go through stuff a little bit of a notion

started to form and then it was more of a hunt or an

investigatory thing. That was one of those magical

moments we were mentioning.

BD: The result will be something that you didn’t

have at the beginning. We both knew we needed to

give ourselves up to the notion of the unknown and

be confident that we would arrive somewhere and

be OK with that.Untitled (Nurse), 1976 by unknown artist (courtesy of the Dufala Brothers)


sD: Ultimately you’re going to be the one directing

yourself through the process so it’s going to reflect

your sensibility. You can’t help but do that.

BD: I think trying to create a survey of what’s

happening in the Philadelphia contemporary art

scene would have destroyed that process, and it

wouldn’t have been fun, and I don’t think we would

have arrived at the show that we have now. I think it

would have been painful.

sD: I also would have felt totally unqualified to do

that.

Ro: The show is consistent with your way of

thinking. You’re the representatives of that part

of the world, as opposed to anyone else in the

painterly abstraction world. What’s happened

before, which isn’t to say that they haven’t been

successful exhibitions, was that there were

moments when the jurors said, “We don’t have

any figurative sculpture and we need figurative

sculpture,” and they went to the pool and there

were three of them and they picked one. It may or

may not have been high enough quality to have

been included but they were filling a gap.

sD: I had a bit of a panic last night when I realized

that I didn’t honestly know the gender breakdown

for artists selected. I wonder if we’ve done a good

job. I have no idea because that wasn’t part of my

thinking.

RM: You were very close to even. There are 47

women and 41 men. I think that’s great.

Ro: To me, it’s great that you don’t know. You’re just

responding to the work.

sD: When we were doing the big push through all

of the selections, Billy was on one side of the room

and I was on the other side of the room and we

both had our laptops open going through it. We

were calling back and forth to each other saying,

“Oh, the weird blue lady with the thing.” We weren’t

calling out the artists’ names at all. Getting to this

Untitled (Bachelor Farmer Signal Tower), 2013, by Lewis Colburn (Courtesy of the artist). (detail on right)


Muddy Muse, 2015, by Madeline Vallari (Courtesy of the artist)


point was more fun than I initially anticipated, but

it’s daunting at the outset when you know that the

end result is a relatively highly visible thing and

you have no idea how you get from here to there.

The most nerve-wracking part was just a lack of

information or bearing. You have no idea what to

even think about. But now, here’s all this work and

we had fun with it. I would say the fun part about

not being programmatic about the selection is that

there’s all the room in the world for connections

and other things to happen, and to be able to

accommodate those things.

BD: The thing I was worried about when we first

realized how much and what kind of work we

selected is how much more space there is and the

amount of sculpture versus the amount of space

and how that’s going to work out for the smaller

stuff. I was thinking of wall mounting and putting it

up on shelves.

sD: In terms of the installation, it would be ideal

if, when we get in the room, to pretty much place

two-thirds to three-quarters of the show and then

the rest would be left for those little moments to

happen and to be able to push and pull. I think we

already understand generally what’s upstairs. The

whole idea up there is to show intimate, individual

perspectives, through the scale and nuance of the

work. Downstairs, along with the sculpture, we’ll

also have a lot of pairs. We know that we want

certain works to communicate with each other,

whether they’re across the room or next to each

other. There are a bunch of different ways to parse

the show. There are vantages from downstairs, of

course, where walls upstairs are so highly visible

from the floor that we don’t need to spend that

space on close proximity. We could also have far

away proximity. We’ll work our way out of the

space. The last picture to go up will probably have

no choice but to go where it’s going.

Cook Forest Studies, (video still) 2011, by Cari Freno (Courtesy of the artist)


JURoRs

tHe DUFAlA BRotHeRsAmerican (born 1976 and 1981)

all work Courtesy the artists and Fleisher/Ollman, Philadelphia unless otherwise noted

Chair, 2009Wood and metal, 34 1/2 x 16 3/4 x 28 1/2

Quadriga, 2009Photocopy on cardstock, 6.25 x 4.5 inchesFrom the archive set of Freewall, from the exhibition One on One on One, Buffalo, NY, 2009

extra leg, 2010 Ink on untreated newspaper clipping mounted on cotton paper, 5 1/8 x 3 in.

Terry Adams Stab, 2010 Ink on untreated newspaper clipping mounted on cotton paper, 3 1/4 x 4 in.

Tom Friedman loves metallica Soap, 2012 soap, pubic hair, brass, steel, 5 x 11 x 7 1/2 inchesPhotograph by Claire Iltis

bx ball, 2013 Armored electric cable, electrical socket, 28 inches diameter Courtesy the artists and Fleisher/Ollman, Philadelphia Photography by Claire Iltis

tape measure ball, 2014 Tape measures, 11 x 11 x 19 in.

long finger, 2015digital print, 23 x 13 in. small water, 2015 watercolor on paper, 6 x 8 in.

ARtist UnKnoWnuntitled (nurse), 1976 Ceramic, 7 x 5 x 13 in.Courtesy of the Dufala Brothers

WoRKs in tHe exHiBition

upper left: BX Ball, 2013,; upper right: long finger, 2015; lower: Tom Friedman Loves Metallica Soap, 2012; all three works by the Dufala Brothers (Courtesy of the artists and Fleisher/Ollman, Philadelphia)


tHe WooDMeRe AnnUAl 74tH JURieD exHiBition

PHilliP ADAMs American, born 1978happy hour, 2014 Charcoal, graphite, and oil on panel, 48 x 48 in.Courtesy of the artist and Seraphin Gallery

KiM AltoMARe American, born 1991Chicken head, 2014 Oil on canvas on panel, 14 x 11 in.Courtesy of the artist

tiMotHY BelKnAP American, born 1976Forgiveness, 2014 Motor, rubber snake, bucket, 20 x 12 x 12 in.Courtesy of the artist

JoHn A. Benigno American, born 1946barn, Kuerner Farm, 2010 Archival pigment print, 11 1/2 x 8 1/4 inCourtesy of the artist

gReg BiCHé American, born 1990burke’s! outflings my lord Stephen, giving the cry, and a tag and bobtail of all them after, cockerel, jackanapes, welsher, pilldoctor, punctual bloom at heels with a universal grabbing at headgear, ashplants, bilbos, Panama hats and scabbards, Zermatt alpenstocks and what not. A dedale of lusty youth, noble every student there, 2014 Ballpoint pen on paper, 8 1/2 x 11 in.Courtesy of the artist

Stuff behind a Wall, 2010 Ballpoint pen on paper, 8 1/2 x 11 in.Courtesy of the artist

JiM BiglAn American, born 1966Zit, 2015 Oil and clay on canvas, 16 x 12 x 3 in.Courtesy of the artist

KennetH BlUMBeRg American, born 1961Seated Clown, 2010 Oil on board, 18 x 12 in.Courtesy of the artist

lisA BoUgHteR American, born 1966untitled, 2014 Archival pigment print, 11 x 14 in.Courtesy of the artist

gRegoRY BRelloCHs American, born 1973Vivarium, 2013 Graphite on paper, 34 x 34 in.Courtesy of the artist

linDA BRenneR American, born 1940Coke Pole, 2012 Recycled Christmas tree with

Coke can strips and nails on teakbase, 90 x 7 x 7 in.Courtesy of the artist

levi Pole, 2013 Recycled Christmas tree with Levi inseams, nails, red map tacks on cast concrete base, 96 x 10 x 10 in.Courtesy of the artist

JeFF BRoWn American, born 1959Communion, 2012 Video; 2 minutes, 10 secondsCourtesy of the artist

Jen BRoWn American, born 1987Chair, 2015 Poplar, hot glue, spray paint, and thread, 4 x 1 1/2 x 1 1/2 in.Courtesy of the artist

sineAD CAHill American, born 1990What have You to offer, 2015 Stone lithograph on cotton, batting, 14 x 12 in.Courtesy of the artist

Chicken Head, 2014, by Kim Altomare (Courtesy of the artist)

Barn, Kuerner Farm, 2010, by John A. Benigno (Courtesy of the artist)


lYnne CAMPBell American, born 1967Spring (luck), 2013 Acrylic on wood, 11 x 11 in.Courtesy of a private collection and Morpeth Contemporary

MARiel CAPAnnA American, born 1988mojave mercado, March 2015 Acrylic on fresco on panel, 30 x 40 in.Courtesy of the artist

eDWARD CAReY American, born 1984Studio head, 2014 Tape, chalk, and eraser, 9 x 6 x 8 in.Courtesy of the artist

sAlVAtoRe CeRCeo American, born 1973death before dishonor, 2014 Polymer clay, cardboard, and acrylic, 8 x 4 x 4 in.Courtesy of the artist

monday morning ritual, 2014 Ink on paper, 9 x 11 in.Courtesy of the artist

JACintHA ClARK American, born 1986Pack lightly, 2015 Porcelain packing peanuts and cardboard box, 16 x 16 x 16 in.Courtesy of the artist

Alex CoHen American, born 1980Saturn and Son, 2014 Oil on board, 28 x 16 in.Courtesy of the artist

leWis ColBURn American, born 1982untitled (bachelor Farmer Signal Tower), 2013 Aluminum, pine, denim, cast urethane, steel and electrical components, 108 x 60 x 36 in.Courtesy of the artist

JoHn CostAnzA American, born 1924009 Car heaven #1, 2013 Lucite, toy cars, 12 x 18 x 12 in. Courtesy of the artist

JennY Cox American, born 1959As many as i Can, 2014

Ink on paper, 21 1/2 x 29 1/2 in. Courtesy of the artist and Center for Creative Works

MARiAnne DAges American, born 1982dictionary i, 2013 Gouache, pencil, and silverpoint on paper, 38 x 50 in.Courtesy of the artist

AlexAnDeR DAntA American, born 1958Per Aspera Ad Astra, 2014 Deer antler, Tunguska meteor fragment, and sterling silver caps, 11 x 1 1/2 x 3/4 in.Courtesy of the artist

KRistin DeADY American, born 1980Front Passenger Side, 2015 Rock found inside my car, on the floor of the front passenger side, and salvaged glass from the window that the rock was used to break, 3 1/2 x 5 x 4 in.Courtesy of the artist

Monday Morning Ritual, 2014, by Salvatore Cerceo (Courtesy of the artist)

009 Car Heaven #1, 2013, by John Costanza (Courtesy of the artist)


tiM eADs American, born 1976105 rolls on one, 2011 105 rolls of toilet paper rolled onto one roll, 32 x 48 x 5 in.Courtesy of the artist and Pentimenti Gallery

elAine eRne American, born 1965mr. duckie Takes a diving lesson, 2014 Lithograph, 10 x 8 in.Courtesy of the artist

RAPHAel Fenton-sPAiD American, born Italy 1983Self Portrait #4, 2015 Acrylic, spray paint, and fabric on canvas in found frame, 36 x 22 in.Courtesy of the artist

RYAn FoleY American, born 1985bow out Gracefully, 2013 Acrylic and mixed media collage on canvas, 16 x 13 in.Courtesy of the artist

CARi FReno American, born 1982Cook Forest Studies, 2011 HD video; 3 minutes, 37 secondsCourtesy of the artist

Jesse FRieDMAn American, born 1991You eat the Pizza, 2015 Oil and pizza box on panel, 12 3/4 x 24 1/2 in.Courtesy of the artist

MiCHAel gARRitY American, born 1955laundry basket, 2014–15 Pencil on paper, 14 1/2 x 10 1/2 in.Courtesy of the artist

nAnCY HeileMAnn American, born 1934been There, done That, by the

Grace of God, 2014 Oil on canvas, 24 x 30 in.Courtesy of the artist

The hunter, 2015 Oil on canvas, 20 x 16 in.Courtesy of the artist

MoRgAn HoBBs American, born 1988Sick Shirt, 2013 Oil on panel, 26 x 22 in.Courtesy of the artist

MARilYn Holsing American, born 1946labourers, 2014 Watercolor on paper, 28 x 24 in.Courtesy of Gallery Joe, Philadelphia

sARAH HUnteR American, born 1983Study for Saint lucy, 2015 Acrylic on paper, 10 x 7 in.Courtesy of the artist

Ben Jones American, born 1990bored at Work, 2015 Inkjet print, 11 x 17 in.Courtesy of the artist

toM JUDD American, born 1952Folding Chair, 2012 Altered found chair, with hinges, 33 w x 17 d x 22 1/2 h in.Courtesy of the artist

Mr Duckie Takes a Diving Lesson, 2014, by Elaine Erne (Courtesy of the artist)

Bored at Work, 2015, by Ben Jones (Courtesy of the artist)


RitVA KAngAsPeRKo American, born Finland 19543 Friends reading a hunting magazine, January 2014 Oil on cotton, 36 x 24 in.Courtesy of the artist

Colin KeeFe American, born 1968Flux Atlas, 2013 Ink on paper, 44 x 30 in.Courtesy of the artist and Robert Henry Contemporary

tinA C. leCoFF American, born 1950Joy, 2015 Oil on canvas, 24 x 18 in.Courtesy of the artist

niCHolAs lenKeR American, born 1982Ash, 2014 Forton MG, resin, photo print, 22 x 22 x 3 in.Courtesy of the artist

KAtHRYn lien American, born 1990Flexin’, 2014 Photographic transfer on lauan, 45 x 36 in each.Courtesy of the artist

D. ReAD loCKHARt American, born 1978ballooner, 2014 Oil on board, 10 x 12 in.Courtesy of the artist

AliCe noRMAn MAnDel American, born 1942reflections (V), 2014 Gouache on paper, 26 x 19 in.Courtesy of the artist

MiCHelle MARCUse South African American, born 1957Fairytale Way, 2015 Cardboard, gouache, and graphite, 7 x 8 x 8 in.Courtesy of the artist

Photograph by John Carlano

eRiCK MilleR American, born 1991magic Scenario, 2015 Archival inject print, 22 x 33 in.Courtesy of the artist

JAMes MUelleR American, born 1989The Things that Come out of Your mouth Sometimes, 2014 Ink and graphite on paper, 8 1/2 x 11 in.Courtesy of the artist

MARY MURPHY American, born 1958Self-Portrait d, 2006 Iris digital print, 17 x 23 in.Courtesy of the artist

eRin MURRAY American, born 1979mertice, 2013 Graphite and India ink on paper, mounted to shaped panel, 11 1/2 x 11 1/2 x 1 1/2 in.Courtesy of the artist

J. A. PAnettA American, born 1956rorschach #7, 2013 Aquatint etching, 20 x 26 in.Courtesy of the artist

CAitlin PeCK American, born 1988Peter (my oldest Possession), 2015 Fabric, thread, and Poly-Fil, 11 x 7 x 3 1/2 in. each, edition of 20 Courtesy of the artist

zACHARY PRitCHARD American, born 1989lump, 2015 Papier-mâché, wax, and steel mesh, 4 x 5 x 2 1/2 in.Courtesy of the artist

Rorschach #7, 2013, by J.A. Panetta (Courtesy of the artist)


Look Right Through Me, 2013, by Keith Sharp (Courtesy of the artist)

One’s Worth, 2014, by Emily Schnellbacher (Courtesy of the artist)

AMY RitteR American, born 1986lawn Chair, 2013 Lawn chair, concrete, 38 x 40 in.Courtesy of the artist

linDsAY M. RoBBins American, born 1986Tinicum Parrot, 2015 Acrylic on paper, 12 x 12 in.Courtesy of the artist

AlexAnDeR RosenBeRg American, born 1981hold your hands in front of you, about 8–12 inches away from you, at eye level. Point your index fingers toward each other, touching at the fingertips. now look “through” your fingers, into the distance behind them #4, 2013 Unaltered inkjet print face-mounted on acrylic, cast lead, crystal, oil paint, 10 x 15 x 1 in.Courtesy of the artist

DiAne Ross American, born 1961Special delivery, 2010 Oil on canvas in pizza box, 19 x 19 x 2 in.Courtesy of the artist

JUstin RUBiCH American, born 1987bow i and ii’, 2011 Duct tape on canvas, 16 x 12 in each.Courtesy of the artist

JonAtHAn sAntoRo American, born 1983Sisyphus’s Toftbo, 2014 Cast plaster, OSHA orange spray paint, 23 x 34 x 2 1/2 in.Courtesy of the artist

steVe sCHeURing American, born 1968Gridlock, 2013 Oil on canvas, 48 x 36 in.Courtesy of the artist

DAn sCHiMMel American, born 1964Sway, 2014 Mixed media, 5 x 2 x 2 ft.Courtesy of the artist

Photograph by John Carlano

eMilY sCHnellBACHeR American, born 1987one’s Worth, 2014 Fabric and fiberfill, 72 x 24 x 12 in.Courtesy of the artist

Celeste sCHoR American, born 1959Armless, 2009 Graphite and ink on paper, 14 x 11 in.Courtesy of the artist

KeitH sHARP American, born 1968look right Through me, 2013 Archival pigment print, 25 x 17 in.Courtesy of the artist


Municipal, 2014, by Miriam Singer (courtesy of the artist)

steRling sHAW American, born 1982Twins, 2015 Acrylic on canvas, 48 x 72 in.Courtesy of the artist

KAtHRAn siegel American, born 1944blue Flowergirl, 2014 Wood, gouache, 30 x 18 x 12 in.Courtesy of the artist

AlMUt siMins American and German, born 1966German impressions ii’, 2014 Hard-carved eraser stamp print, 8 3/4 x 6 1/2 in each.Courtesy of the artist

MiRiAM singeR American, born 1976municipal, 2014 Pencil, marker, silkscreen, monotype, and acrylic collage on paper adhered to panel, 12 x 18 in.Courtesy of the artist

RoBeRt sMAll American, born 1953new Arctic explorer, 2015 Oil on canvas, 40 x 30 in.Courtesy of the artist

HollY sMitH American, born 1955Good intentions, 2015 Painted wood, mixed media, 9 x 9 x 5 in.Courtesy of the artist

DoUg sMoCK American, born 1956Siesta, 2010 Mixed media, 40 x 22 in.Courtesy of the artist

FAY stAnFoRD American, born 1960mr. universe, 2014 Woodcut, 22 x 24 in.Courtesy of the artist

KiMBeRlY steMleR American, born 1970baignoire, October 2012 Oil on panel, 5 x 21 in.Courtesy of the artist


A Family Portrait, 2014, by Bea Weidner (courtesy of the artist)

Mr. Universe, 2014, by Fay Standford (courtesy of the artist)

KAte steWARt American, born 1976The Traveler, 2013 Acrylic on panel, 12 x 12 in.Courtesy of Seraphin Gallery

Alison stigoRA American, born 1982Sabre, 2013 Log and hot cast glass, 18 x 22 x 6 in.Courtesy of the artist

KARen stone American, born 1957distant Cousin, 2012 Human hair on illustration board, 24 x 22 in.Courtesy of the artist

lUCiA tHoMe American, born 1991They’re Kissing, 2012 Paper, hot glue, and acrylic paint, 17 x 9 x 3 in.Courtesy of the artist

Smells like my dad, Tape, 2014 Pepper can and measuring tape, 2 1/2 x 3 1/2 x 1 in.Courtesy of the artist

Alexis tHoMPson American, born 1979old Stone Face (San lorenzo Tenochtitlan/buster Keaton), 2015 Ballpoint pen and acrylic on paper, 57 1/2 x 42 in.Courtesy of the artist

JiM UlRiCH American, born 1950doGS!, 2015 Found fencing, conduit, plywood, papier-mâché, and acrylic paints, 32 x 27 x 4 in.Courtesy of the artist

MADelene VARAlli American, born 1969muddy muse, 2015 Paper clay, handmade clay beads, recycled materials, and acrylic paint, 21 x 8 x 5 1/2 in.Courtesy of the artist

eRiCA VolPe American, born 1986Angry Gorilla bus, 2013 Claymation video, Polymer clay; 24 secondsCourtesy of the artist

Telepathy, 2015 Patinated resin and crystals, 20 x 8 x 10 in.Courtesy of the artist

Jon WeARY American, born 1987requiem for Jake, 2015 Graphite and charcoal on paper, 26 x 36 in.Courtesy of the artist

JUstin WeBB American, born 1982Pizza, Snake, Arrow, broom Stick, refrigerator left open, Switzerland, 2015 Oil on paper, 7 x 5 in.Courtesy of the artist

BeA WeiDneR American, born 1941A Family Portrait, 2014 Photo collage, 11 x 16 in.Courtesy of the artist

ViRginiA leigH WeRRell American, born 1987A dark room with Teenagers, 2013 Gouache and colored pencil on paper, 10 1/2 x 13 in.Courtesy of the artist

AsHleY WiCK American, born 1987eyeballs and Aeroplanes, 2014 Painted animation, 1 minute, 42 secondsCourtesy of the artist

eDWARD WolteMAte American, born 1944Sarthyiaoon, 2012 Mixed media collage, 22 x 24 in.Courtesy of the artist


Visual Food Values, commercial assignment for the Philadelphia Inter-State Dairy Council, 1938-48, by Severo Antonelli (Woodmere Art Museum: Gift of the artist, 1986)

seleCtions FRoM tHe PeRMAnAnt ColleCtion

PHotogRAPHeR UnKnoWn PRint BY MCAllisteR & BRo., PHilADelPHiAuntitled (Cauliflower), late 1850s to early 1860s Hand-colored albumen stereograph, 2 7/8 x 5 15/16 in.Woodmere Art Museum: Gift of J. Randall Plummer and Harvey S. Shipley Miller, 2007

seVeRo Antonelli American, 1907–1995Visual Food Values, commercial assignment for the Philadelphia Inter-State Dairy Council, 1938-48 Offset Lithograph, 20 x 12 1/2 in.Woodmere Art Museum: Gift of the artist, 1986

tHe DUFAlA BRotHeRsAmerican (born 1976 and born 1981)untitled, 2011 Etching, 15 x 28 in.Printed with C.R. Ettinger StudioWoodmere Art Museum: Gift of Philagrafika, 2015

MARtHA MAYeR eRleBACHeR American, 1937–2013big blond duck, 2006 Oil on canvas, 12 x 15 in.Woodmere Art Museum: Gift of Adrian Erlebacher and Amy Lu, 2014

MoY gliDDen American, 1916–2005Portrait of St. Croix Woman, 1935 Oil on canvas, 30 1/8 x 25 in.Woodmere Art Museum: Gift of the artist, 1999

sUsAn loWRY American, born 1953Farewell, 1986 OIl on tin and carved bas relief, 35 3/4 x 28 x 4 1/4 in.Woodmere Art Museum: Gift of Jill and

Sheldon Bonovitz, 2014

JAne PiPeR American, 1916–2005Portrait of a St. Croix Woman, 1935 Oil on canvas, 24 1/2 x 20 in.Woodmere Art Museum: Gift of the artist, 1999

CHARles W. sCHMiDt American, born 1939The moon Suit, 1985 Lithograph, 22 1/2 x 25 in.Woodmere Art Museum: Museum purchase, 1986


Woodmere Art Museum receives state

arts funding support through a grant

from the Pennsylvania Council on the

Arts, a state agency funded by the

Commonwealth of Pennsylvania and the National

Endowment for the Arts, a federal agency.

Support provided in part by

The Philadelphia Cultural Fund.

© 2015 Woodmere Art Museum. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without written permission of the publisher.

Photography by Rick Echelmeyer unless otherwise noted. Catalogue designed by Barb Barnett and Emma E. Hitchcock, and edited by Gretchen Dykstra.

Front cover: doGS!, 2015, by Jim Ulrich (Courtesy of artist)

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Documents

The Woodmere Annual: 74th Juried Exhibition