Featuring Recipients of The Leeway Foundation’s 2002 Awards to Emerging and Established Artists Photography/Works On Paper

Co-curated by The Philadelphia Art Alliance and The Print Center

At The PhiladelphiaArt AllianceDetails, top row, left to right

Barbara BullockKaren FogartyTara GoingsMelina HammerYukie KobayashiAdrienne StalekRachel Steckersecond row, left to right

Zoe Strauss

At The Print Centersecond row, left to right

Astrid BowlbyEmily BrownHelen CahngJoan KlatchkoLynnette MagerEnid Mark

E xhibition

Opening Receptions Thursday, December 5, 5:30–7:30pm

Locations THE PHILADELPHIA ART ALLIANCE251 South 18th Street, Philadelphia215.545.4302 www.philartalliance.orgGALLERY HOURS: TUE–SUN, 11AM–5PM

THE PRINT CENTER1614 Latimer Street, Philadelphia215.735.6090 www.printcenter.orgGALLERY HOURS: TUE–SAT, 11AM–5:30PM

Closed December 23, 2002–January 5, 2003

For information on lectures and artist talks, visit the gallery Web sites.

December 5, 2002 t h r o u g h

February 2, 2003

The bessie berman award

$35,000Barbara Bullock

The Leeway Award for Excellence

$30,000Astrid BowlbyEmily Brown

The Leeway Award for Achievement

$20,000Tara GoingsEnid Mark

2 0 0 2 E s t a b l i s h e d A r t i s t spage 8

2 0 0 2 E m e r g i n g A r t i s t s page 9

The Edna Andrade Award

$15,000Joan Klatchko

The Inspiration Award

$7,500Helen CahngMelina HammerYukie KobayashiRachel Stecker

The Seedling Award

$2,500Karen FogartyLynnette MagerAdrienne StalekZoe Strauss

I am concerned with the continuation of movement, energy, beliefsand spirit in my paintings. My work is about connections andretentions. Shaped paintings give me the freedom to definestatements I wish to make; they are direct conversations with theviewer. Juxtaposition of shapes, color, texture coalesce intostatements formed from memory. Working with collage, I seepeople as layers of stories, and habitats and places of energies.My work seeks to stimulate, nourish and explore. The stimulus isresearch, travel, experimentation, painting, teaching and exploringnew materials. My art is a continuum; I want to express spirit,strength and survival. After traveling to Africa, Brazil and Mexico,I have continued to research Africa and the countries of itsDiaspora. This gives texture, visual manifestation and excitementto my painting and teaching.

LEFT PAGE: Ethiopia No1 Lalibella, 2001, 60" x 42"LEFT: Journey No3, 2000, 54" x 36"CENTER: Food for the Spirit, 1997, 65" x 30"RIGHT: Child of the Omo, 1998, 24" x 42"All flashe paint, watercolor, paper 3lb, acrylic mat,

medium, gold leaf

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Barbara BullockEstablished Artist: The Bessie Berman Award

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I make drawing installations, sculptures from paper that I’ve drawnon, and single-sheet drawings. This work has evolved from strongdueling interests in drawing and sculpture, as well as admiration forthe flexibility of paper. I make drawings in a variety of forms inorder to consider themes like expansion, contraction, density,accrual and scale. Because of this, many of my projects are on-going. This serializing instinct meshes well with both my interestsin cartooning and animation and my interest in natural patterns ofgrowth. When I approach a serialized drawing project, I userepeated imagery that appears in different positions and relativesizes. Sometimes I imagine the contents of a comic book beingshaken between its covers and dumped onto the floor or expandedto fill an entire room. I like drawing’s simultaneously literal andsymbolic nature, especially when I cut-out what I’ve drawn. If Ineed something: flower, canoe, spiral, star, blob, grilled cheesesandwich, patch of grass…I can get it by drawing it. I make aphysical analogy to thought that can be reconsidered by beingrearranged and added to. I envision the work evolving throughthese various formats for the foreseeable future.

LEFT PAGE: Kit and Caboodle (detail), 1999, ink on cutpaper, 12" x 12" x 24" (dimensions variable)

LEFT TOP: Heroes brush (detail), 1999, ink on cutpaper, 5" x 8" x 24" (dimensions variable)

LEFT BOTTOM: Ode to Ordinary Things, I(Leaf pile), 1998-present, ink on cut paper, 12" x 53" x 66"

RIGHT: Kit and Caboodle, 1999, ink on cut paper, 12" x 12" x 24" (dimensions variable)

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Astrid BowlbyEstablished Artist: The Award for Excellence

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Photo credit: Nicole Cherubini

I have painted for decades in the landscape, both rural and urban.Out of doors, one can find respite from a measured existence, andrenewal through connections with the conditions and rhythms ofthe natural world. Too, one is at the mercy of the shifts of weatherand seasons.Working increasingly in my studio beginning in 1995, I experi-mented extensively for several years, trying new media, grounds,imagery and scale. Recently, I have largely relied on the risky runtogether of Sumi ink and water, and the responsiveness of differentpapers. A vocabulary of aqueous brush marks continues to build asthe large pages are becoming increasingly filled with selections oftextures found in nature.Since 1998, my focus has been on the poetry found through thematerial and a specific natural subject. I wish my work to be easilyaccessible. I am glad to have found relatively universal imagery:simple surfaces, selections of foliage and grounds of earthymaterials. Some of the results are intentionally meditative in theircharacter; others are jazzy, sensuous and emotionally expressive. Imean to bring feelings and thoughts to mind while celebrating thevital, natural world we can so easily overlook.

LEFT PAGE: Water surface with wake, 2000, ink on paper,26" x 41"

LEFT TOP: Ordinary people, 2002, ink on paper, 52" x46"

LEFT BOTTOM: Seaweed, 2000, ink on paper, 26" x 41"

RIGHT: The secret life begins early, 2001, ink on paper, 46" x 45"

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Emily BrownEstablished Artist: The Award for Excellence

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Photo credit: Jeff Hurwitz

The process of making a drawing is mysterious. I work intuitivelyand slowly. It can take up to three months to finish a large drawing.There are thousands of marks, passages and relationships, whichmust be adjusted, emphasized or erased.I research art history, particularly illuminated manuscripts, for myimagery. Appropriating these sources, I change context and scale,imbuing the forms and their spaces with dense rhythmic patternsand wistful internal light. As new narratives develop, resoundingvisual elegies are created.The drawings feel cloaked in a mystery constantly being revealed.Each being in the work attempts to find its completion in another.Each expresses longing and separation. These souls cannotconnect, cannot resolve, except through some intervention.I draw because I like the variety and quality of line, its directness,as well as its myriad subtleties. The rich black of charcoal, brokenup by exposed patches of paper, creates a feeling of light shiningthrough stained glass windows.Drawing explicitly deals with this darkness and light. At night,perception falters; the stars and the vastness of space createwonder as the psyche opens to the ineffable.

LEFT PAGE: Knur, 2000, charcoal, graphite on paper,445⁄16" x 42"

LEFT TOP: Zum Irrgang, 2001, charcoal, graphite onpaper, 513⁄4" x 56"

LEFT BOTTOM: Crannog, 2000, charcoal, graphite onpaper, 417⁄8" x 70"

RIGHT: Tend (detail), 2001, charcoal, graphite onpaper, 46" x 42"

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Tara GoingsEstablished Artist: The Award for Achievement

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In this age geared to computerization, I seek to make books in anindividual and personal way. I imagine the book as a continuouspicture plane on which word, image, sequence and structure allreinforce each other. What interests me most is the relationshipbetween text and image. I plan no hierarchy between them.My first books were one-of-a-kind efforts that, like most artists’books, presented political, social and autobiographical ideas. Now I am more interested in the literary legacy of the book because itoffers a vigorous context, a way to express myself beyond cliché.Often I work with poetry by or about women. Either I compiledisparate texts that assume greater power when gathered together,or I collaborate directly with poets. For instance, in To Persephone,nine 20th-century poets recast the Homeric myth explaining theorigins of the seasons as the story of a young girl caught between a lover and a mother.As I search for deeper connections between the verbal and thevisual, my desire is to have my art considered as books and mybooks considered as art.

LEFT PAGE: Pages from The Elements: Air and Fire,2002, lithography/letterpress, 30" x 11"

LEFT TOP: Page from The Elements: Fire, 2002,lithography/letterpress, 8" x 11"

LEFT BOTTOM: Pages from Precessional: Distances,1998, lithography/letterpress, 20" x 131⁄2"

RIGHT: Pages from The Elements: Earth and Water,2002, lithography/letterpress, 30" x 11"

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Enid MarkEstablished Artist: The Award for Achievement

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Coming Home: Levittown RevisitedGreen lawns. Tupperware parties. Trips to the mall in the big boxycar: this was my suburbia, the one stored away in memory all thoseyears I lived abroad.T.S. Eliot wrote that “...at the end of all our exploring, (we) willarrive where we started, and know the place for the first time.” But after 21 years abroad, I was only able to do this throughphotography. Using the suburban setting as the theme—and notthe backdrop—I used my camera to explore the lives of ordinaryAmerican people—including family, friends and neighbors. Theseare not people who live on the margins of society, but rather, thosewho inhabit that vast, almost mythical place we call suburbia—and my pictures reveal that moment of drama inherent within themost ordinary situations. In response to the criticism heaped uponthe identical rows of “ticky-tacky” houses, my pictures show homerenovation as a means of self-expression, and holiday decoration asa form of public art.Only through photography was I able to get behind the façade ofcliché, to that subtle and complex place we call “home,” a placethat is an integral part of the American psyche. And becauseLevittown is, in many ways, a microcosm of America, this projectbecame a way for me to rediscover my own home.

LEFT PAGE: Christmas figures, 2000, ink jet print20" x 131⁄2"

LEFT TOP: Kelly doing her make-up, 2000, 35mmcolor slide

LEFT BOTTOM: Halloween games, 2000, ink jetprint 20" x 131⁄2"

RIGHT: Frank keeping an eye on his daughter, 2001, ink jet print 24" x 20"

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Joan KlatchkoEmerging Artist: The Edna Andrade Award

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During a recent trip to Los Angeles, I experienced a feeling of déjà vu. I reflected back to the last time I was there when I realizedthere had never been a last time. What I was remembering was acollection of memories accumulated from a lifetime of mass mediastimulation, which I’d adopted as part of my own history. Throughprint, film, television and radio, I had experienced Hollywoodwithout ever having been there.To me, art is not merely academic, but also includes the signs,sounds and symbols that accompany daily life. Mass media hasbecome an influential part of our collective memory. I create selfportraiture not with a believable physical likeness, but rather withsymbols and text taken from popular culture that contain personalsignificance. As familiar images, they create both associative andinherent responses from the viewer. Through this process, my workexamines relationships between contrasting ideas; word and image,overt and subliminal, applied and inherent meaning in symbols,and real and imagined experience. Because they are easilyreproduced and distributed, works on paper lend themselvesreadily to this idea.

LEFT PAGE: Self Portrait (detail), 1999, plexiglas,photographs, name badges, ink, 18" x 24" x 7"

LEFT TOP: Self Portrait, 1999, plexiglas,photographs, name badges, ink, 18" x 24" x 7"

LEFT BOTTOM: Lights over 405, 2001, ink jet on paper, 35" x 16"

RIGHT: “Fortune” “Cookies” “Enjoy!” (detail),2002, mixed media, 45" x 24" x 24"

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Helen CahngEmerging Artist: The Inspiration Award

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Imagine a richly-hued world–transcendent, yet achingly familiar.An alone space, eerily poignant in its singularity.Provocative, decomposing majesties haunting one’s mind,unsettling in their full emptiness.Penetrating “interior” worlds, defined by familiar, neglected forms…They are shamefully intimate to me.Imbued with an earnest, broken magnificence, these spaces are valiant testimonies to perseverance.Urban ruins: visceral, elegant, transcendent.Capturing the “feeling” of life lived is my challenge, my inspiration.I am beholden to duality of being, to an abandoned, eviscerated life that is simultaneously abundant, thriving. These polarizedfragments serve as subliminal “source material” as I shoot my images.Intuition has integrity; I trust mine to capture the essence of myfascination. I see power–visual and symbolic–in the shapes ofshadows and light: what they conjure and evoke, as well as whatthey describe and disguise. Magic exists in the variance anddimension of texture, and the vivid spectacle of color. Society’sdisregard provides me opportunity to explore broken pasts, as well as the realm of new “growth” that results from such deterioration. These pieces firmly root themselves in whatexperience feels like.

LEFT PAGE: Still/Visceral, 2001, type-c print, 48" x 32"

LEFT TOP: Through the Glass, 2001, type-c print, 48" x 32"

LEFT BOTTOM: Remnant, 2001, type-c print, 48" x 32"

RIGHT: Surface, 2001, type-c print, 48" x 32"

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Melina HammerEmerging Artist: The Inspiration Award

page 24

I am interested in creating a visual language, which could haveuniversal implications. For the past two years, I have been makingsculpture by wrapping handmade paper mixed with human hair onaluminum wire.The process of touching and feeling the material is very importantto me and the natural fibers I use relate directly to human tissue, in that the fibers cover the wire in the same way that skin coversbone. I then bend and twist the wire to create lines that express movement.With these recent works called “Vital Sign,” my intention was tocreate a kind of art that relates to other aspects of humanendeavor, including science, religion and philosophy. The ideas forthese works came from human biorhythms.My desire to communicate in ways other than verbal comes fromthe fact that I have spent half my life in Japan and half in theUnited States and have found from experience that art has theability to speak in a more direct way than language.

LEFT PAGE: Cascade, 2001, colored handmade paper,aluminum wire, hair, 6' x 1' x 1'

LEFT TOP: Opposite Attract, 2001, colored handmade paper, aluminum wire,feather, 8' x 2' x 1'

LEFT BOTTOM: Rebirth, 2002, colored handmadepaper, 10' x 21⁄2' x 4'

RIGHT: Radiance, 2001, colored handmade paper,aluminum wire, hair, 6' x 3'x 3'

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Yukie KobayashiEmerging Artist: The Inspiration Award

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Active Players in History Instead of Passive VictimsIn many ways the people with whom I share my life set themselvesapart from the general public. My subjects are beautiful people onthe inside and out, and their beliefs are not drawn from the massmedia. I feel they think for themselves and act on those beliefs inmany, if not all, aspects of their lives.Going into non-traditional settings, I created images that workalong traditional photographic guidelines. I use this technique toentice the viewer into the images and involve them in the text andcontent. My subjects are people who for the most part arestereotyped because they do not lead conventional lives. Over thepast few years, the media have begun to portray people who lead anatypical life as destructive. However, what they do has a purpose,usually to better our society.I am portraying their beliefs by interviewing them about what theydo in their lives. I also asked them to talk about what they feel isimportant. I wanted to give them control of these two aspectsbecause more people need to know about their beliefs and howthey act on them.

LEFT PAGE: Dave 1, 2001, color print, 10" x 10"

LEFT TOP: Dave’s text, 2001, digital, 81⁄2" x 11"

LEFT BOTTOM: Dave 2, 2001, color print, 10" x 10"

RIGHT: Dave 3, 2001, color print, 10" x 10"

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Rachel SteckerEmerging Artist: The Inspiration Award

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Shared Spaces: A Series of Works On PaperMy work always begins with simple observation. What is going onaround me? Who has a story to tell? Do I feel enough affinity forthe subject to successfully interpret the story? Observationinevitably leads to attraction, attraction hopefully to attachmentand attachment to involvement.Structures, houses and neighborhoods have wonderful character.They wear the mark of time and season. The subject matter is atestament to both the past and the future. I try to capture thatmark in my drawings.I combine charcoal and graphite to create a simple, straightforwardimage. Graphite produces the detail that I am looking for, whilecharcoal allows for the depth of value that I need. The effect isstrong composition based on intense value shifts and interesting,varied texture.This series of drawings continues to hold my attention. I plan tobecome even more involved in the use of texture as a metaphor for both the passage of time and the environment in which thesubject exists.Finally though, it is always the process of creating that gives suchmeaning to my life. I cannot imagine a day without art.

LEFT PAGE: Stalwart, 2000, charcoal & graphite,26" x 31"

LEFT TOP: High Noon, 1999, charcoal & graphite,30" x 24"

LEFT BOTTOM: Stilted, 1999, charcoal & graphite,52" x 23"

RIGHT: A Triptych: Aloft (part 3 of 3), 2001,charcoal & graphite, 27" x 22"

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Karen FogartyEmerging Artist: The Seedling Award

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“The whole world for each is peculiar and private to that soul.” – T.S. Eliot

What an eloquent summation of our uniqueness and isolation. Artilluminates the fact that while we are all alone in our worlds, thatexperience of solitude is universal. The artist makes his/herperception public, and for the viewer who finds the work relevant,there is a moment of communion–recognition of a fellow traveler.My studies and brief work in art therapy have greatly influencedmy attitude towards the work I create. I will embark on a projectwith a conscious intent, knowing the work will take on a life of itsown and the larger meaning of the work will become apparent aftercompletion. Creativity is not a wholly conscious endeavor, art isnot a vehicle to aggrandize the artist’s personal psychology, butrather the artist is a vehicle to interpret larger cultural, spiritual or philosophical questions.

LEFT PAGE: White Goggles, 2002, giclee print, 13" x 19"LEFT : Luminous, 2002, giclee print, 13" x 19"CENTER: Celina I, 2001, giclee print, 13" x 19"RIGHT: G-Force Mask, 2002, giclee print, 13" x 19"

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Lynnette MagerEmerging Artist: The Seedling Award

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In my work, personal experience is informed by research on thehistory of western science, art, medicine and the development ofwestern institutions. I am particularly interested in identifyingattitudes and ideas about women’s bodies and femininity from thehistorical past through to the present.My media and the forms of my pieces are representative of theoverlap of art and science and the book as both an art form and aresource. From antiquity, artists have been called upon to createimages that communicated visually as well as document scientificprocess and discovery. These traits of beauty, communication andfunctionality are what inspire me to continue my exploration.The pieces are weavings of text and images, both self-generatedand culled from history and contemporary media. In my work, I usethe layering of visual and written information to reveal the effectsof cultural and social institutions’ practices and deeply-held ideason the lives of women.

LEFT PAGE: Reliquary, 2000, hand-colored seleniumtoned silver print, wood, gold and silver leaf,glass, apple, 191⁄2" x 12" x 5"

LEFT TOP: The Greek Herbal of Dioscorides, 1997,book of cyanotypes bound in blue suede invelvet case, 81⁄4" x 105⁄8"

LEFT BOTTOM: bar, car, scar (recto), 1998, silverprints, fabric, human hair, buttons, thread,stuffing, (dimensions variable)

RIGHT: Edenserpent, 1998, medicine cabinet, inkjettransparency, selenium toned silver print,skeleton, eggs, xerox transfer, found objects,lights, 16" x 20" x 61⁄2"

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Adrienne StalekEmerging Artist: The Seedling Award

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I am interested in producing photographs that are both a storyunto themselves and part of a cohesive body of work designed to be viewed in public spaces.

LEFT PAGE: Untitled (Angel), 2000, 35mmphotograph, 31⁄2" x 5"

LEFT TOP: Untitled (15th and Reed Sts.), 200135mm photograph, 31⁄2" x 5"

LEFT BOTTOM: Untitled (Mattress Flip), 2001,35mm photograph, 31⁄2" x 5"

RIGHT: Untitled (New Year’s 2001), 2001, 35mmphotograph, 31⁄2" x 5"

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Zoe StraussEmerging Artist: The Seedling Award

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A R T I S T s ’ B I O G R A P H I E S page 40

LYNNETTE MAGEREducationBFA, The University of the Arts, Philadelphia, PA, 1991

Selected ExhibitionsSmall Works, Creative Artists Network Gallery, Philadelphia, PA, 2002; Focus 2002, Creative Artists Network Gallery, Philadelphia, PA, 2002; GroupExhibition, Creative Artists Network Gallery, Philadelphia, PA, 2001; GroupExhibition, Federal Reserve Bank, Philadelphia, PA, 2001; Juried Exhibition,Educational Testing Services, Princeton, NJ, 2001; Small Works, Creative ArtistsNetwork Gallery, Philadelphia, PA, 2001; Focus 2001, Creative Artists NetworkGallery, Philadelphia, PA, 2001; Group Exhibition, Federal Reserve Bank,Philadelphia, PA, 2000; Juried Show, Phillips Mill, New Hope, PA, 1999; JuriedShow, Mayfair, Allentown, PA, 1998

Selected Awards/HonorsPhotography Affiliate, Creative Artists Network, 2000-2002

ENID MARKEducationGraduate Studies, West Chester University, PA, 1991-92, 1974-76; BA magna cum laude, Smith College, Northampton, MA, 1954

Selected ExhibitionsCarl Hertzog Award Exhibition, University of Texas/El Paso, TX, 2002; Fine PrintingFrom America, British Library, London, England, 2001; Books As Art XIII, NationalMuseum of Women in the Arts, Washington, DC, 2001; Artists’ Books, Museum of Contemporary Art San Diego, La Jolla, CA, 1999; Solo Exhibitions: YaleUniversity, New Haven, CT, 1998; Swarthmore College, Swarthmore, PA, 1999,1998, 1994; Farnsworth Art Museum, Rockland, ME, 1993; Smith College,Northampton, MA, 1992; Princeton University, NJ, 1992; A Decade of FinePrinting, New York Public Library, New York, NY, 1991; Contemporary PhiladelphiaArtists, Philadelphia Museum of Art, Philadelphia, PA, 1990

Selected Awards/HonorsPew Fellowship in the Arts, 2001; American Color Print Society Awards, 1993,1988, 1986, 1979; Delaware Art Museum Purchase Award, 1981; University ofDelaware Purchase Awards, 1978, 1974, 1970

Selected CollectionsBritish Library, London, England; Corcoran Gallery of Art, Washington, DC;Getty Museum Library, Los Angeles, CA; Harvard University, Cambridge, MA;Library of Congress, Washington, DC; National Gallery of Art, Washington, DC;National Library of Canada, Ottawa, Canada; New York Public Library, New York,NY; Philadelphia Museum of Art, Philadelphia, PA; Victoria and Albert Museum,London, England

ADRIENNE STALEKEducationMFA, Tyler School of Art, Elkins Park, PA, 1997; BFA, Tyler School of Art, Elkins Park, PA, 1989

Selected ExhibitionsAnnual Juried Exhibition, Abington Art Center, Jenkintown, PA, 2002; Photography 2002, Philadelphia Sketch Club, Philadelphia, PA, 2002; OnCollecting, Philadelphia Art Alliance, Philadelphia, PA, 2001; Philadelphia Artists in Chicago: A Mail Art Experiment, School of the Art Institute of Chicago,Chicago, IL, 1999; Bodies’ Edge, Artforms Gallery, Manayunk, PA, 1999; I’m notspoken for, Window on Broad, Rosenwald-Wolf Gallery, The University of the Arts,Philadelphia, PA, 1999; First Aid, Sol Mednick Gallery, Philadelphia, PA, 1998;Sacred Mountain Juried Art Show, Mach Chunk Arts Center, Jim Thorpe, PA,1998; 6th Annual Phillips Mill Photographic Exhibition, Phillips Mill, New Hope, PA,1998; Looking at Dogs Through the Camera’s Eye, The American Kennel ClubMuseum of the Dog, St. Louis, MO, 1997; 1996 Photography Exhibition, TheShipley School, Bryn Mawr, PA, 1996; Women/Violence: Testimony and Empathy,Women’s Studio Workshop, Rosendale, NY, 1996; A Group Show of NY Artists,Upstairs at Barnard, New York, NY, 1990; 6th Columbia Artists Exhibition,Columbia University, New York, NY, 1990

Selected Awards/HonorsRichard Guggenheim Award for Best in 3D, Abington Art Center, 2002; Temple University Project Completion Grant, 1997

RACHEL STECKEREducationBFA, Tyler School of Art, Elkins Park, PA, 2001

Selected ExhibitionsStudent Exhibition, Tyler School of Art, Elkins Park, PA, 2001; BFA ExitingExhibition, Elkins Park, PA, 2001; Group Exhibition, A-Space CommunityCenter, Philadelphia, PA, 1999

Selected Awards/HonorsCustom Color Photography Award, 2001; The Rhode Island School of DesignAward for Photography, 1997

ZOE STRAUSsEducationHS Diploma, Philadelphia High School for Girls, Philadelphia, PA, 1987

Selected ExhibitionsUnder 95, Front and Washington Streets, Philadelphia, PA, 2001; Solo Exhibition,Rodanvsgriffith, Philadelphia, PA, 2000; Collision at Sea, 5th and Wharton Streets,Philadelphia, PA, 1999; Exhibition, 4 Star Gallery, Whirlforce Medical ResearchLaboratories, Inc., Indianapolis, IN, 1997