135th Anniversary Annual Members Exhibition

  • screen-printed, stitched vintage linen 12 x 12 x .875"
    The series of Keeping Up Appearances tackles some of the thornier social issues of mid-20th century America, inspired by text from a 1954 book on etiquette. This text ensured cultural boundaries were not to be crossed. Incorporating vintage linens upon which dye has been painted and text screen-printed, this work is also hand-stitched and machine-stitched. The text is copied from Amy Vanderbilt’s Complete Book of Etiquette and is used with permission by Lincoln G. Clark, trustee of the Amy Vanderbilt Kellar Literary Property Trust.  
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  • acrylic paint with collage on cradled wood panel 24 x 18 x .75"
    This painting, Rewilding, references the ruderal plant growth that breaks through the brick, steel, and concrete of abandoned urban spaces. It is part of a series of abstract paintings made in response to on-site drawings of former brick factories in the forest alongside the Hudson River, NY. The way these plants break through the industrial structures and restore the scarred earth is a metaphor of resiliency and the impermanence of things . By releasing the structures we once thought supported us, we can discover new growth and the power of possibility.  
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  • mixed media 19.5 x 14 x 4.5"
    "A nkisi acts as an intercessor between ancestral spirits and the living." Minksi (pl of nkisi) were "used for a community’s well-being, assuring fertility, protecting against illnesses, and generally keeping malevolent forces at bay. Their commissioning reflected a fear that disruptive forces would damage the village’s unity." [source: Community Power Figure: Male (Nkisi) Metropolitan Museum of Art, NY, Yaëlle Biro, 2018.] I hope Nkisi for Elections will act as an intercessor between the spirits of the founding fathers of our democracy, our Constitution, and the politicians of today.  
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  • oil paint on wrapped canvas 24 x 24 x 2"
    White Cedar Swamp is a magical place near my home and studio on Cape Cod. I was unaware this wonderland was tucked between the bay and the national seashore, less than a mile away from me, until a friend introduced me to the place on a hike. I felt transported in this space, surrounded by trees and dazzled by the reflections in the pools of water. Immediately, I knew I had found a new muse. I am drawn back there frequently and it is always a different spectacle. Moonlight Magic depicts my memory of the swamp on the rising of The March Worm Moon. In folklore, this full moon symbolizes inspiration, rebirth, hope, and luck.  
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  • pastel, ink, acrylic on paper 17 x 17"
    I am always wondering what it means to make art at a time when it seems we humans are not up to maintaining the health of our beautiful planet and its creatures. How can I just sit around and make pictures? What I do know is that for me, making art is like being a therapist (my profession for almost fifty years), and is like living life. Everything has a way of falling apart and then gathering together, making form out of the unformulated, continually layering and digging beneath the layers. The complexities of abstraction, color, line, and texture are the tools I employ in my passionate reach for exploration of the not yet imagined.  
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  • oil on canvas 72 x 48"
    The Lust painting is the one from the series “Seven Deadly Sins “. I an absolutely sure that the history is a prologue with everything happening nowadays.  Painting today as I am absolutely certain should has meaning. It’s a time for global vision, time to go deeper.  
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  • collage, graphite, paint, ink 24 x 24"
    My art becomes a vehicle for myself and others to better understand difficult issues that confront us daily; These issues including hate, discrimination, prejudice, race, victimization, etc. I believe my role as an artist is to provide a visual representation of these uncomfortable subjects that are often difficult to put into words. providing a platform for conversation. Hopefully it will help others to understand and move forward with all being able to live life free from discrimination.  
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  • graphite 30 x 46 x 1"
    Grounded in realism, the drawing navigates between reality and interpreted vision. Eliminating all references to color, the monochromatic palette enables exploration into a scene simply and directly and with a sense of abstracted reality. Manipulating dark and light through a myriad of tonal contrasts goes beyond representation to where, layer upon layer, delicate strokes and nuances convey an ethereal, serene image. The work is not necessarily a direct representation of a scene but is a practice of nurturing an appreciation of the incessant resilience of the flourishing and decaying of nature and the complexities of our relationship within those cycles.  
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  • acrylic on canvas 29 x 35"
    I used newspaper clippings as a prompt for this piece which inspired a commentary on the disruptions and eruptions within the environment, specifically the landscape. Changes that are both human and naturally caused. Included in this work is a dried and pressed lei from a trip I took to Hawaii several years ago. A symbol of the beauty that often masks the underlying chaos deep within the landscape that is begging for our attention (Lahaina Fire).  
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  • bronze 11 x 11 x 10"
    The Ages of Man symbolizes the gradual change from youth to middle age to old age. From naivete to maturity to wisdom. As we age and observe all the models(family, friends, media) surrounding us, we hope to learn and gain knowledge.  
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  • photography digitally altered 14 x 11"
    Photo shows someone sleeping on a park bench next to the Vietnam Memorial. I was wondering if the person was a veteran, a visitor, or a local person.  
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  • embroidery & felting 13 x 13 x 2"
    At this time in history, we are experiencing trials both in the courts and in other interpretations of the word: environmental stressors, active wars, and in our own reintegration to a post Covid society. Women are being denied necessary medical care, there is no uniformity from state to state, and people are scared of what the courts will rule for future laws.  
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  • photography 9.5 x 14"
    On a busy day of appointments, I stopped at the Smithsonian Environmental Research Center in Edgewater, Maryland. It was a beautiful day and I had lovely walk, which brought me to this small beach on the Rhode River.  
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  • acrylic & gold leaf 44 x 24 x 2"
    In my latest body of work entitled "Echoes," I explore memories and long-forgotten sounds from my youth. Each painting serving as a vessel for a poem of a childhood train as the underpainting. The thin top layers befit the ghost-like forms featured in my surface designed compositions and recall the carefree spirit of childhood explorations.  
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  • acrylics / mixed media on canvas 24 x 20 x 1"
    In this vibrant creation, I sought to capture the raw, unfiltered essence of human passion and energy. Using acrylic, chalk, and sand, I've given life to a figure that radiates with dynamism, embodying freedom and unshackled expression. The bold textures and effervescent hues will send a current of vitality through any space, inspiring onlookers to embrace the dance of life with unrestrained joy.  
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  • acrylic 36 x 48"
    My paintings are spontaneous. At some point I see a subject develop, and if I like it, I continue with it. That is how A Question of Balance was created. It represents our struggle to achieve an acceptable balance with all we have to handle in our life.  
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  • acrylic 24 x 24 x 1.5"
    Images in this series were based on photographs I obtained by climbing up a large Poinciana tree. By cropping down to the bare essentials, the results were somewhat abstract.  
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  • oil & cold wax on panel 24 x 30 x 1.5"
    Experimentation is at the core of my artistic practice. I constantly push the boundaries of traditional oil painting techniques, seeking new ways to express my vision and engage with the materials. Through the exploration of color, texture, and complex layering processes utilizing oil paint and cold wax, I open myself up to unexpected outcomes and exciting discoveries. Each layer holds traces of the artistic process, revealing the history and evolution of the piece. I believe that through the accumulation of layers, the artwork gains a sense of richness and storytelling, inviting the viewer to explore the hidden narratives within.  
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  • oil on panel 24 x 20"
    Painted en plein air on the cliffs above New Brighten Beach in the late morning as the sun cast her diamonds on the water and the waves crested and broke, inspiring a feeling of peaceful hope in my heart. The fleeting promise of gentle joy.  
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  • sculpture relief 26 x 15 x 6"
    “Bobbi, can you use this for your art?” asked Al when he finished installing the Lanai ceiling fan. Though the shipping container was all white, one cube contained a circle of radiating bars that could be painted to look like the underside of a manhole cover. I added a rim and painted the interior metallic copper. Cheesecloth was glued over the packing peanuts filling the empty cube. As I tamped in mud, roots and stones, I experienced the ecstasy of artistic creation, knowing that I had achieved the Inside-out Theme perfectly for the competition I wished to enter.  
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  • douglas fir 21 x 4 x 3" (with pedestal, 72")
    It’s A Mans World A woman behind every great man? Still, visually speaking, my intention of women representing structural support in this totemic carving offers opportunity to suggest a bit of satire aimed directly at the gender power play. This series, the body language unique to each one, was created as a direct result of a lifetime of my own personal experiences.  
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  • mixed media 30 x 24 x 1.5"
    Perceptions of the natural world are explored through gestural paintings. This work serves as a bridge between the expectations of realism and the freedom of abstract expressionism. Palettes that are chosen create conversations between cool and warm tones and serve to energize the compositions.  
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  • fiberglass, casting, wood, fibers, plants, taxidermy, Bondo 25 x 25 x 25"
    Slew Series- Ede 8: Artists speak about humanity and carry an ethical responsibility of discourse even about bewildering human states, unselfishly giving more than is required of the occupation alone. Ede 8 carries the conversation about a self directed yet limited life paralyzed by childhood fears. Linda Williams McCune  
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  • digital photograph 17 x 21"
    This is a digital photograph I took of a large old rustic barn on a ranch south of my hometown.  
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  • mixed media on paper 18 x 16 x 1.25"
    My process is intuitive. The curve of pencil line, the profile of a face or ancient sculpture, the palette and form were entirely happenstance. In conversation with a well-known artist and curator years ago, my work was described by them as “sophisticated.” Later, working with that individual became a rude awakening of how sexist, degrading and elitist the art world can be for a female identified artist. I felt this piece was a triumph in its overt femininity, fresh gesture and formal strength which is why I chose it for this show.  
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  • photography 24 x 30 x 1"
    My intent is to create a narrative through this photograph of the needy and poverty stricken children of our (3rd) world. Part of my "International Children Series", my photo captures an authentic moment in 2022 of two sisters in front of their living quarters in their Laotian village. There is an irony to their donated GAP clothing and Nike sandals, dirty and worn, in the materialistic standards and values of life in America. Looking further into this photograph, one can see a typical home in Laos, bringing to reality the life of these young girls. Most importantly, their natural expressions add emotional overtones to this piece. as they help to convey a story of the children of Laos.  
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  • monotype 18 x 22 x 1"
    I use color, shape, and composition to create images that please my eye and are faithful to creation. I’m a monotype maker. I place ink on plexiglass, using brayers and brushes. I add stencils, plastic netting, paper. I use whatever fits, determined by the creative process. I carefully place the work on the press bed, hoping I don’t get too much ink on my hands. Desperately trying to keep the water-soaked paper clean, I lay it over the plate and crank the handle, pulling the rollers over the assembled work. I’ve surrendered control as the bed slides between the rollers, creating something beyond what I’ve organized. I have handed control over to the forces of nature.  
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  • watercolor on archival paper with hand sewing and stamping in archival cases 13 x 11.5"
    Child's Play is part of a series of works intended to be manipulated. The fragments of the painting can be separated and reconfigured like a puzzle.  
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  • ink on paper 21.5 x 19"
    I work directly from nature exploring a synthesis of abstraction and realism, positive space activating negative space, the pictorial field alive. A new voice spoke to me over 25 years ago with my move from New York to Bucks County, Pennsylvania. It spoke a language I had never known, but spoke a secret language to my heart. The contemplation of the expressive figure gave way to the perception and experience of life in a glorious landscape. It said this is home.  Here we bear witness to the natural cycle of renewal and rest. Landscapes and waterscapes, houses and abodes provide places where we can rest and dream.  
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  • mixed media 28 x 29 x 1.5"
    Taken is the story of those whose lives have been turned to chaos in minutes. Those who were taken hostage, kidnapped or sold into slavery…. abused and the innocence of their youth is destroyed at the hands of their captors. They feel isolated and forgotten and... even if they want to cry out loud...they are too terrified to make a sound. I hear your cries in my mind... and I want the rest of the world to see it.  
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  • acrylic on canvas 15 x 19 x 2"
    I lived in Philadelphia only briefly decades ago, but in recent years I have had more than a few occasions to visit, thanks to the generosity of a local friend. I have taken advantage of those visits to sketch, paint and photograph various sites around the city. My paintings of South 9nth Street, the Italian Market's main drag, are my most successful efforts to date to capture the essence of one of Philadelphia's neighborhoods. I like the area's historic status and distinct character: It looks impervious to the development that is so prevalent in much of the city these days. Although, there are indications that this neighborhood too will give way to new construction.  
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  • bronze 4 x 14 x 17"
    A country, locality, or situation in which cultural assimilation results in blending the heritage and traditions of previously distinct ethnic groups. Yes, America has been labeled a melting pot of society, we encompass all colors, religions, nationalities to become a cohesive society, but our history also speaks of something else. A time when not all people who came to this country were treated the same, when people were spit upon, enslaved, and treated as second class citizens. We have spent the past few hundred years trying to rectify that mistake. We falter, some never learn, and when you put people with so many different ideas, beliefs together there beg to be differences. Will we ever.  
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  • oil on cradle board 20 x 16 x 1.5"
    This painting was inspired by the Spring nasturtium display on view at the Isabella Stewart Gardner Museum.  
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  • oil on canvas 28 x 22 x 2"
    I believe Marilyn is some sacred symbol of a kind or a saint of unknown religion. I worked for a long time on this painting. Each time I started painting it I felt like I entered some mysterious space, though I do not know the nature of this space, Marilyn turned herself, or maybe better to say, sacrificed herself, into some eternal porcelain which never faded or into a diamond which never stopped shining.  
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  • oil on panel 9 x 9 x 2"
    Agatha Christie said, "All I needed was a steady table and a typewriter." This painting reflects that sentiment. Books, as well as objects, tell a story and have a history. This painting celebrates my admiration for the humble typewriter. They have none of today's digital distractions, like the internet or email. You are just typing, creating a unique work of art.  
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  • terracotta 12 x 9 x 8"
    This is Hamlet’s Ophelia, heartbroken. Her beloved has gone mad, accidentally killed her father, and there love affair is finished. “Get thee to a nunnery “ he thunders. Completely distraught, she drowns herself. I tried to capture her anguish.  
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  • mixed media 18 x 24"
    She reaches for my heart with her colors, inspires me to dance with her flair. I surrender to her passions in my garden looking into her stars, not a care. Inspiration for this piece came during recovery from a spinal fusion surgery. Inspiration comes first through light which I believe to be the source of all healing. Mirror, grout, paint, faux gold leaf on canvas.  
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  • blown glass, bread, resin 5 x 14 x 8"
    My current work is a documentary self-portrait as I go through pregnancy, childbirth, breastfeeding and postpartum. The multidisciplinary installation consisting of video, glass and breastmilk sculpture, as well as painting, is a direct cry of motherhood pride and fragility. In my practice I dissect, peel, slice, unveil and reorganize extreme experiences to help me process their impacts.  
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  • digital archival photograph sublimated to aluminum 16 x 24"
    The Art of Saving Venice is a photograph of the recently restored 14th c. Ca’ Sagredo Hotel, including the art installation “Support” by Lorenzo Quinn. The large hands, modeled on one of his own children, serve as a both a warning and a call to action to make a stand on climate change. Using the innocent hands of a child, he encourages humanity to care for the planet and protect our global heritage. It was the first art installation allowed in the Grand Canal in Venice.
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  • graphite drawing on Arches watercolor paper 15 x 15"
     
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  • photography 24 x 18" In this photograph my granddaughter Georgina looks transfixed out to sea. She lives with Rett syndrome a rare genetic neurological disorder that affects the way the brain develops. She is nonverbal. I do know by her calmness at the shore that she feels a sense of peace and wonder here. I want to share that with her and with you.
     
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  • mixed media 20 x 16 x 2" My goal is to present a unique mixed media work. Materials are transformed to another level. There are areas of subtlety, sometimes subtle variations of a single hue. There are also passages of intricacy and/or simplicity within the work. There is a strong interplay of color, line, texture, and form.
     
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  • oil on canvas 30 x 30 x 1.5" This is an abstract image of disjointed worlds and perhaps a left behind fragment in between universes. I've always been interested in astrophysics but with limited understanding, so I paint my ideas.
     
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  • works on paper 24 x 18 x 1" The unexpected is always a journey, and ghost prints satisfy my love of experimentation, challenge, abstraction, and recycling. This particular iridescent pearl acrylic ghost print felt 'galactic' and fragmented. Embracing this image was calming. It will be forever in my mind.
     
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  • oil on cradled wood panel 24 x 18 x 1" Painting landscape for many years, I have been drawn to water; it's movement, and reflections, and depth. This glorious sunny day on a humble pond capitvated me for all those reasons.
     
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  • oil 20 x 20 x 2" From the Invisible Women Collection: Voyeur is small to replicate the sensation of peering into a closed space. Apprehensive, yet drawn to that upstairs window, we are unable to resist the temptation of looking inside, but feel guilty for invading someone’s privacy. The figure may have gone unnoticed. Returning outside, one might see that the odd sizing of the brick exterior is both curious and uncomfortable, dreamlike in the way it feels warped from sitting in the sun. This peculiar patterning draws us down to a solitary figure looking out a darkened window below, penned in, trapped, invisible.
     
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  • mixed media on Arches oil paper 13 x 13 x 1.25" I paint military spouses who live in West Point, NY- where the United States Military Academy is located. As a proud military spouse, I became interested in the cumulative effects of this lifestyle- exploring identity erasure, community, and impermanence. My work, "Sponors' Last Four," refers to the military's organization of spouses by the last four of the active duty member's social security- instead of their names. I also developed a process that was reflective of these experiences: the chaotic and relentless cycle of breaking down and starting over. I repeatedly disrupt, redraw, and rerender figures. I intend to not only express the challenges these women face but also their beauty.
     
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  • oil on canvas 6 x 10 x 2" My inspiration for this recent piece, is my continued love of the 'Casa Colonica' in Italy. These farmhouses represent a rural life of an epoch gone by, which I find fascinating. By painting their portrait so to speak, I feel I am giving them a renewed voice and acknowledgement. I feel a connection to these massive structures. This particular view in the dark of night has a comforting feeling yet a loneliness standing in the shadows with only a half light from the moon illuminating. The stone wall in the foreground creates a presence of its own, inviting the viewer to proceed forward or warning to stay and watch from afar. Moonlight Moon is the beginning of my 'Italian Night Series.'
     
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  • ink on paper 15 x 18" The Flotsam series follows my long interest in shallow water system imagery across sculpture, painting, and drawing projects. In this work I allow each material to inform the evolution of image making. Started during a road trip in 2023 with a small kit, I began these drawings with layers of brushed-on ink that got worked over with marker which rendered a silvery, burnished surface. These quickly became a process that encouraged intuitive shape-making, and where chaos on the page came to order through a network of connections.
     
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  • ceramic 15 x 11 x 9" Taking off in a personal, fantastical, playful westernized direction, I create a "character mask" I hope worthy of those wonderful sculpted wooden masks worn by performers in both traditional energetic Japanese Kabuki theatre and dance presentations and in the more restrained Noh theatre performances. Initial inspiration transformed!
     
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