135th Anniversary Annual Members Exhibition

  • acrylic on canvas 36 x 24 x 2"
    Travel often inspires my artwork both while traveling and later, in my studio. My sketches (graphite, watercolor) lead to small, realistic canvases. Those, in turn, often lead to more abstract work, over time. This canvas resulted from many images of Shinto and Buddhist shrines in Japan, plus my own attraction to the colors used at the Shinto shrines. It describes my  sense of the centrality of religion in Japanese culture plus the excitement and passion of visitors (often with beautifully dressed young children) there.  
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  • oil on canvas 21.5 x 17.5"
    Now What?, the painting's title, poses the questions: how much do we know, how much more do we need to know, and how will we utilize that knowledge?  
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  • acrylic 60 x 48 x 1.5"
    Along with my deep passion for painting figures, there is a mysterious coming alive of an inner spirit, where emotion speaks through the canvas. This magical practice allows one truth to emerge where the inner and the outer truth reflect one another. May these shadow figures awaken your one truth and connect to the window of your soul.  
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  • suede, paper, copper 22 x 26"
    Animated Forms is a recurring theme in my paintings, sculptures and mixed media work. My interest is in exploring the boundaries between representation and abstraction. I reduce the subjects to bold, simplified forms and like to create excitement, tension and often lots of space in the work. Color and texture became increasingly important in development of the collage, and man-made and natural materials like suede, copper and paper were incorporated into the piece. This is an exciting, intuitive and challenging way to work.  
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  • oil on canvas 22 x 28 x 0.8"
    Sharks have been on this planet for over 400 million years and have survived multiple mass extinctions, Yet, they never evolved a swim bladder and so must swim constantly. I wanted to paint a shark out of its element. Baking in the desert under the beam of a spotlight.  
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  • oil 24 x 20 x 1"
    The Winter Dreaming Tree is part of a series of works called "The Dreaming Trees". All these pieces were born out of scientific research on Trees communicating through their root systems and how all of these creatures are much more then they seem, they are living and breathing just like us. I have devoted some of my creative works to our concerns over our environment and I believe our seeing nature differently will help us all evolve and protect our world.  
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  • acrylic, tree bark, skins, burlap, crayon 19.5 x 19.5"
    Luminous Evening emanates the golden hour's enchantment, born from a small study painted en plein air of a nearby pond. With a symphony of hues, I painted its canvas to mimic the sun's warm embrace. Peach, pink, and coral danced, while the pond shimmered with golden reflections. Trees stretched upward, leaves aglow with sunset's fire. Imperfections embraced; the scene exuded tranquility. The painting captured the fleeting magic of golden hour, inviting viewers to bask in its luminous beauty.  
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  • acrylic on canvas 10.6 x 10.6 x 1"
    Immediately responded to the coming Spring 2024. Because I also do some gardening and am so looking forward to enjoying it. The title came quick after I finished the painting and it fit with my mind frame and the coming of the new season.  
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  • oil on canvas 56 x 60 x 1.3"
    Kepaniwai Heritage Park is a garden paradise nestled between gentle mountains on the island of Maui. Pavilions in the park are there to honor the various ethnic groups that helped settle Hawai'i. In this painting, I capture the moist atmosphere that hovers over lush and colorful foliage. The bridge represents a very small human element that exists along side of nature.  
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  • oil 16 x 20"
    I love swimming in the ocean and I spent a few summers on Block Island, RI, i got to know many wonderful dogs over there and was inspired to get my own. I am so happy about this decision, my dog was my doctor during three hard years of COVID. My painting is my way of saying thank you to the dogs for being life savers and to the dog friendly Block Island.  
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  • sumi-e 20 x 25"
    The Master Potter, a dear friend of mine, her hands move knowing while her mind drifts creatively. Sumi-e, on double shuan paper all from the same ink thinned to a wash to create the gradients, dry brush created the highlights in her hair. The subtle bleeds created between the paper and the ink honor the potters love of Raku and Sager Firing. A tribute to an artist that mastered her medium over 50 years and pushed the envelop up to the end.  
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  • silk ribbons, antique maps, antique wooden shoe forms 11 x 9 x 3"
    Refugees - maps from geography books published in 1868 are cut and recombined. Combining the maps with antique wooden shoe forms and hand dyed silk ribbons, suggests a journey charted, imagined, or remembered. A unique perspective of mapping the world is depicted utilizing the antique materials in sharp contrast to our present day issues and conflicts, affecting untold populations around the world. The carefully charted topographies, geographies, boundaries and coordinates are ultimately transformed and inviting new explorations. Layering the paper intuitively, responding to the antique cartographic renderings, allows for new territories to form.  
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  • digital photography, Inkjet archival print 23.5 x 17.5 x 1"
    I have always loved photographing people. What energizes me is how spontaneous the process is, and unpredictable people are. This photograph was taken, several years ago, on a Photography trip to Guatemala. I was struck by the light and shadow on the woman, the stairs, and arch, as she was sweeping the church steps. The scene that was in the background seemed to glow in the sunlight. It was a magical moment! These days you might find me with my camera, photographing people on the streets of NYC.  
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  • acrylic 13 x 11 x 1"
    Tango, a dance of give and take, rawness and refinement, has long captivated my artistic sensibilities. This small acrylic painting shows the freshness of the moment in a dance of quick action, stance, and reaction between two figures in their pursuit of a perfect connection.  
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  • bronze, wood 15 x 10 x 8"
    The Whirling Darvish sculpture is inspired by the essence of a traditional Sufi spinning meditation practiced by the Dervishes of the Mevlevi Order, in which the practitioner abandons his ego and connects with the divine in a rotating trance by listening to the flute music and symbolically resonating with the spinning planets, partaking of the Oneness of the Universe. Today, the meaning of this meditation puts on a fresh spin when practiced by non-secular dancers united in humanity and humility, harmonizing with each other and with the Cosmic vastness.  
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  • collage with digital elements 9 x 8.5"
    I feel like Alice (from Alice's Adventures in Wonderland) as she wonders through this bewildering world.  
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  • oil, charcoal, graphite, aluminum paint on paper 24 x 24"
    I am a abstract landscape painter. The greens of the surrounding lawn set off the blooms in the rose garden. The colors green and red are complements on the color wheel. Within the choices for the color green I went "Veronese Green." A blast of pure cadmium green with that Venetian/Veronese "twist". The red is many reds but mostly pure cadmium red medium and alizarin crimson--sometimes mixed or overlapping, other times almost pure. The "rose garden" is framed by a cadmium yellow deep border and then outlined in aluminum paint. I am excited about this painting: the big singular shape, the colors and the framing to set it all off.  
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  • collage with jewelry findings and string 12 x 12 x 1"
    In this "portrait," I'm trying to capture the rebellious aspects of a woman's personality, mainly through the colorful and nonconformist way she adorns herself as well as her living space. I'm inspired by the simplicity and directness of Folk and Outsider art. And when I was working on this piece, the words to the David Bowie song, "Rebel, Rebel," were going through my mind.  
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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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • walnut ink, sumi ink, minerals, pigments, graphite powder, oyster shell, silver leaf, found tulle, paper scarps, mitsumata, on mulberry paper mounted to panel 24 x 48"
    This piece was created during 2020 and inspired by a series of phrases and ideas that I focused on during that time as I compared and contrasted seemingly the oxymoronic events of the day. "Lines of communication bruised, but maybe not broken. Self. Speaking, Suspended conversations, zooming fact checks behind masked members of race. Seeking spaces between memory and a formulations of the possibility of fright or fight. A missed flight. A fight for intimacy and for air."  
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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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • acrylic 30 x 30 x 1.5"
    Despite the chaos beneath, playful colors can bring us calm and joy. The process of creating That Hits the Spot was a balanced mixture of measured control and intuitively painting, each of which, in its distinct way, helped to release the angst that had been inside of me.  
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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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  • 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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  • printmaking 23 x 14 x 2"
    Recently, I've been working on collographs. A collagraph is a print that is made from a collage of various materials that are glued together on cardboard, metal, or a hardboard plate. Texture can also be created by gouging or cutting into the board. It is then inked as either an intaglio or relief then run through the printing press with dampened paper on top. I enjoy this technique as it gives me the freedom to experiment with different materials and textures. I also work with decorative papers as an added element. It is also a departure from my more realistic linocuts, allowing me to explore abstract compositions.  
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  • glazed stoneware 15 x 8 x 8"
    For most of my career, I had worked with female models, exploring issues of identity, sexuality and personal power. During and after the pandemic, that didn't seem relevant. I also wanted to throw pottery again as I had at the beginning of my career. I found the process consoling, and I wanted to offer consolation to others. I felt protective of my friends and my family. I began a series of sculptures that combine thrown and modeled forms. They are meant to be protective figures from the realm of myth and imagination. This one, Buddy Buddha, is my own beloved dog, who was such a cheerful and affectionate companion during that terrible time.  
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