LONG BEACH ISLAND FOUNDATION OF THE ARTS AND SCIENCES 2024 WORKS ON PAPER
2024 WORKS ON PAPER
Welcome to 2024 Works on Paper Saturday, May 18Monday, July 8, 2024
Catalog design: Tracey Cameron
Works on Paper 2024, the 26th National Juried Competition and Exhibition, launches our summer season at the Long Beach Island Foundation of the Arts and Sciences.
The variety of media eligible for submission to this exhibition included: drawing, painting on paper, hand-pulled prints, photographic prints, digital works on paper, and paper constructions. All artwork submitted must have been completed within the past two years. Artists from forty-five states submitted their work for review by the juror. We are pleased to present the artwork of sixty-three artists who live and work across twenty-three states in the United States.
Experiencing the scale, color, texture, and light of a work of art in person is incomparable. The ability to explore the artist’s personal themes, vision, and imagination transcends two-dimensional representations to make viewers feel a part of intimate and personal stories. The artist’s creative spark lifts the viewer to new places and observations. Works on Paper 2024 provides the opportunity to acknowledge the talent, innovation, and individuality of sixty-four artworks and the intangible relationships that form between art and the viewer. Thank you to all the artists whose work we celebrate today. They have provided reminders of the beauty, complexity, and abstraction of a moment in time in the visual world around us.
The Long Beach Island Foundation of the Arts and Sciences was established in 1948 as an institution whose mission was to foster the highest level of the arts and to bring artists, educators, and patrons together to celebrate art as a passion and a driving, influential cultural force.
This year we are honored to have Kim Conaty, Chief Curator at the Whitney Museum of American Art, as our juror. Conaty’s impressive career and extraordinary knowledge of drawings and prints is unmatched. She has curated numerous exhibitions and authored several monographs, which most recently focus on artists Ruth Asawa and Edward Hopper. We are truly grateful for Kim Conaty‘s exceptional expertise in selecting the works for this exhibition and awarding its prizes. We thank her for her support and her curatorial vision.
Special thanks go to Tracey Cameron and Katherine Whitlock for the design and creation of this catalog. In addition, we are grateful to LBIF’s Art Exhibition Committee members who work tirelessly to organize and present robust and diverse art exhibitions, lectures, and programs each year.
Daniella Kerner Executive Director
The Long Beach Island Foundation of the Arts & Sciences
Cover art and detail (above): 2023 First Place Award, Jane Springwater. River Rocks. Etching (two plates).
Juror’s Statement
Kim Conaty is the Chief Curator the Whitney Museum of American Art. In addition to overseeing the management and growth of the Whitney’s collection of drawings and prints, she has organized several exhibitions there, including Ruth Asawa Through Line (2023); Edward Hopper’s New York (2022); Nothing Is So Humble: Prints from Everyday Objects (2020), and Mary Corse: A Survey in Light (2018). Prior to the Whitney, Conaty was Curator at the Rose Art Museum at Brandeis University and Assistant Curator at The Museum of Modern Art, New York. The recipient of a Fulbright Fellowship and Clark Fellowship, Conaty holds a Ph.D. in the History of Art from the Institute of Fine Arts, NYU, and a Master’s degree from Williams College.
I greatly enjoyed reviewing the many wonderful submissions to LBIF Works on Paper 2024 and was heartened by the sheer volume of outstanding works. My selection picks up some of the resonant threads I felt throughout the group, the most notable of which was a profound fascination for and keen observation of the natural world. Through their experiments with form, materials, and processes, the artists in the selection here explore and reveal aspects of the world around us and, in turn, remind us of our place in it all.
Kim Conaty
Chief
Curator,
The Whitney Museum of American Art New York City, New York
Works on Paper
1 Bobby Abate, New York
My work intertwines personal and political narratives to reflect my Queer identity amidst 1980s homophobia and the silence of AIDS. Influenced by the Prinzhorn Collection, I blend Queer history with childhood obsessions and fuse text, pattern, and imagery to evoke humor, nostalgia, rebellion, and obsessive self-expression.
2 J[ulie] L[ee] Abraham, New York
In my academic career in Queer Studies, attention to detail and various relations of details to wholes, is crucial to understanding queer histories and cultural presences. When looking at works on screens, we lose any sense of scale. Screens allow us to expand or shrink, and to effortlessly isolate, reproduce, and reuse any detail of any work separately from the whole.
3 Joanne Agabs, New York
As an artist and illustrator working across various visual arts media, I center my practice on crafting a personal narrative through visual documentation of my surroundings and experiences. I spent my formative years in Singapore, Japan, and Thailand, where I painted and drew alongside my mother, a seasoned printmaker.
4 Keisha-Gaye Anderson, New York
My art is a walk through an unformed reality and is inspired by patterns in nature. Through my process of channeling and automatic writing, I seek to visualize the bridges between seen and unseen and reveal the microcosms of our journey as one creation.
5 Sarah Moli Newton Applebaum, California
Each drawing begins with the repetition of a simple pen mark on paper and ends in an organic, optical form shaped by the accumulation of these marks. It’s an intuitive mark begun as a doodle. The spaces in my drawings hold as much weight as the parts that have been filled in. These drawings are meditations on being present while I draw them.
6 Molly Aubry, Florida
My work explores entangled perceptual worlds through a matrix of print media. The work mines the tension between organic materials and digital processes to imagine artifacts from a world in which the natural and artificial are inextricably linked.
7 David Avery, California
Historically, prints addressed contemporary issues, veiled messages in classical themes, and served as bridges between past and present. I employ similar techniques to tackle modern human curses, but my goal is inward: to create intricate images that invite varied interpretations and reflections of life’s vibrant complexity.
8 Erica Barajas, California
Our lives meander like rivers, converging and diverging with other people and experiences. This print is a meditation on the resilience and vulnerability of life, initially inspired by a maze drawn by my young daughter. It is a prayer for all beings to have access to clean water and wellness in all its forms, and a wish for creativity to help us find more ways to support each other.
Queer Objects Pen, ink, and graphite on paper
supposing that there was no reason for a distress Flashe, pen, and graphite on paper
Westside Tavern Watercolor 2 Works on Paper
Savacou Pen and paper
I feel more like a hill than a human Archival pen on paper
Pyramid V Digital print on folded paper
After the Deluge Hard ground etching
Circulatory Tribute Silkscreen
Artists
9 Kathryn Beavers, Pennsylvania
Biomorphic figures and specimens infiltrate our way of communication. Systems congeal into molten formations, creating symbiotic relationships in the cyclical environment both internally and externally. Invisible networks of creatures inhabit our world, brought to the forefront through large scale installation. Organic webs allow a new visual language to grow through intense observation, process, and small intimate moments.
10 Tamie Beldue, North Carolina
While focusing on the figure and the environment as subjects, this work balances a representational canon with conceptual motivations. At an experiential level, the viewer is presented with information that appears realistic from a distance, but upon closer examination, quickly dissolves into the simplicity of marks where particularity becomes abstraction.
11 Susan Bennerstrom, Washington
During a residency in Amsterdam two years ago, I began making abstract drawings and found it to be immediately expressive. I have continued to work in parallel tracks—representation and abstraction—and am happy to find that the two tracks feed and inspire each other.
12 Lauren Bierly, New York
Language, ecology, and architecture inform my work, which is rooted in phenomenology. My art began as an observation of my experience with synaesthesia, a neurological condition where one sensory receptor, like numbers, triggers another sensory receptor, like color. My practice has evolved to capture precise moments in emotional and physical environments in sensory time.
13 Aida Birritteri, New Jersey
I draw and paint abstracts with watercolor, gouache, ink, and acrylic from experiences and memories of what I see and hear. My ink drawings suggest recognizable things with minimal lines. Color harmony hasvisual interpretations of music and sounds that reach out to an audience like a song. Both are attractive and seductive.
14 Wendy Bloom, California
It is a great blessing and gift to be an artist and creative person; art has lifted me up and brought sparkle and enjoyment to my comprehension of myself. As I’ve matured, my love of art has endured as I began working with a variety of mediums.
15 Camille Ann Brewer, Michigan
I investigate how textile construction intersects with spatial planning, symbolism, coding, and composition-making, which forms an exciting view of contemporary “digital” thinking. The connections between coding and loom embed ancient principles in space, computation, and sound to provide a voice for my work in a unifying technical language
16 Thomas Brummett, Pennsylvania
My work surrounds the ideas of wonder, physics, the unseen and especially a kind of transcendence that only nature can reveal. The idea of the viewer changing their perception the closer they get to my images and the duality of line and photographic subject is one of the mysterious things only photography can achieve. River reflections act as a type of “Looking Glass” into our planet’s possible future.
Works on Paper 3
Lure
Acrylic and pen on paper
Fragmented Owen Hall II
Graphite, charcoal, and cold wax
Netherland #3g/cp
Gouache, colored pencil, and ink on paper
Wandering 02
Cut paper, stainless steel hardware, Masonite, wood
Rainy Day Flora Gouache on 300lb hot press
A flight with the stars Watercolor
Missed
Paper, acrylic medium
River #40 (Portal) Multi-block linocut print
Works on Paper
17 Fidalis Buehler, Utah
My work is the manifestation of my identity through American and South Pacific lenses, calls attention to conflicting realities, and straddles the line between levity and earnest devotion. Images are self-portraits that reassemble fear, anxiety, dreams, revelations, magic, mysticism, and ritual.
18 Chris Bunney, New York
I took inspiration from a single Kodachrome slide image I saw at the Brooklyn Museum of a family scaling a dune at White Sands National Park by Garry Winograd. I shot 400 images at twilight and dawn to create unique, large-format prints with several historical themes.
19 Lijun Chao + Andy Holliday, Alabama
We explore themes of borders, places, and what it means to belong. Our art reflects our families, who are spread around the world, by blending what we see, remember, and imagine. The format of our work reveals a changing dynamic as viewers yield control, embrace vulnerability, and shift between audience and creator.
20 Anna Chupa, Pennsylvania
Generative Florautomata visually links DNA’s chemical grammar with second-order two-dimensional cellular automata. Multiscale plant material images are transformed into montages celebrating their beauty and our ability to comprehend genetic transmission by plants, mimicking and extending natural communication modalities through computation and visualization.
21 Thomas Crawford, New York
My aerial landscapes of factories and residential developments are overlaid with enlarged and camouflaged hand tools to yield compositions that are initially difficult to see. While figure-ground compositions typically emphasize sharp contrasts, my work is subtle; as viewers look longer, boundaries blur and familiar orientation slips away.
22 Heidi Curko + Jed Miner, New Jersey
In 2023, we embarked on an art journey fueled by urgency, playfulness, and a desire for experimentation. Our mixed media works have been exhibited at prestigious venues for 30 years and encapsulate our shared passion for pursuing artistic boundaries and exploring new horizons.
23 Len DeLuca, Pennsylvania
Working with oil sticks has led me on a new path of discovery that incorporates the nuances of this medium with composition drawn from various sources, as well as freeform application. As each work develops, new directions open doors and set in motion additional series of works.
24 Arlene Farenci, New Jersey
My energetic monotypes embrace a symbiotic relationship between spontaneous painting and the unpredictability of monotype printmaking. I push and carve layers of color in playful and whimsical ways, then press plates to reveal marks and textures that are unique to the monotype process.
Faster Pussycat Charcoal, lithopone, and sandarac on paper
Awry Oil sticks on paper
Magic Man
Mixed media on paper
Baline
Large-scale silver emulsion print from negative film
Three Shovels
Digital print on cotton rag 300 gsm paper
The Other SIde, diptych 2
Screenprint on paper
Eastern State Penitentiary Mirror
Inkjet print on exhibition fiber paper
May 27th. 23 (Fingerlakes) Monotype
Artists
25 Anna Fine Foer, Maryland
My work can be described as anachronistic; digital technology allows me to construct collages in which I exploit the ultra-modern and the old by placing images made with new technological practices in historic settings. My output comments on the state of “civilization” with an underlying, unifying approach and aesthetic.
26 Kristina Glick, Indiana
Creating art is mysterious yet straightforward; drawing is precise, conscious, and planned. I take advantage of this intersection of chance and purpose in my art. Much of my inspiration is drawn from the natural world with its infinite range of textures and forms. My work is often nonrepresentational, many hint at unfamiliar landscapes or intricate biological studies.
27 Catherine Gowen, New Jersey
I work in watercolor and pen and ink at the interface of science and art, in themes of botany, geology, and ecological conservation. My works focus attention on things slight, small, and ephemeral; things that might be easily overlooked, yet are the foundation of our human experience in the natural world, and are connected to my experience of Place.
28 Catherine Gowen, New Jersey
29 Katie Gross, New Jersey
In my work, I strive to highlight the minute and overlooked beauty that surrounds us, especially perpetual inspiration and beauty of the sea. Creating this work is my way of marrying and showing gratitude for growing up at the Jersey Shore and my identity as an oyster farmer and artist.
30 Anna Guarneri, Pennsylvania
Working in various media, including drawing, painting, and stained glass, my work explores the possibilities of suggestive, nonliteral imagery. I use crude marks and associations to tap into early human experience, pulling from a range of sources: ancient art, architecture, dance history, and my own body.
31 Morgan Hale, New York
My work is at the intersection of art, craft and design, with an emphasis on textile techniques. The weaving process is a driving force behind my practice propelled by its repetitive rhythm. I explore themes of time and perception, and the connection between humans and nature, but sometimes I simply examine color, shape and movement.
32 Elizabeth Hamilton, Pennsylvania
My work uses personal narratives and domestic objects to explore grief, ancestry, family relations, and memory. Private Collection is an ongoing project where I transform paper plates into replicas of the Philadelphia Museum of Art’s 1700 – 1900 European Decorative Arts Collection to resemble valuable chinaware passed down through generations.
No Longer Extinct Gouache, collage, and watercolor
Threshold 12 Ink and watercolor on paper
Quahog Watercolor
Pocket HerbariumSea Lettuce Watercolor and ink on paper
Canyonlands Handwoven paper, yarn, and sprayed dye
Quake Watercolor, gouache, and charcoal on paper
Broken by the Waves
Colored pencil on paper
Private Collection Series, Nantgarw Porcelain Recreations
Paper plate, watercolor, acrylic
Works on Paper
33 Arran Harvey, California
My work is often a simple observation of space or a group of people. A large part of my process involves choosing images to work from and cropping and arranging them to create a composition. Images may suggest a narrative but can also be snapshots of mundane, everyday rhythms.
34 Paula Henderson, Georgia
My work concentrates on current notions of beauty, desire, power, lifestyle, and celebrity that hamper human potential; these works suggest that women are encouraged to embrace objectification. My compositions of commercial fashion images echo ubiquitous presence and function as archetypes for emulation imbued with the power to shape female identity.
35 Gregory Hennen, Virginia
My work reflects what I see and how I feel over time; as a landscape painter, I use traditional techniques to create contemporary works that express my love and respect for nature. My works inspire the viewer to look closely and even venture into the natural scene depicted.
36 Yuji Hiratsuka, Oregon
My prints bear resemblance to traditional Japanese Ukiyo-e prints, with aspects of contemporary Western design,and explore the relationship between figures and space; paper, ink, and etched plates; and the human condition. The figures I draw are enigmatic reflections of wry, satire, whimsy, irony, paradox, and everyday mismatch.
37 Kate Hopkins, New York
My work explores the intersection between creative labor and the viewer’s experience. The watercolor paintings are initially inspired by the microscopic scales that cover butterfly wings and embrace the innate restorative qualities of biophilic patterns and biophilia. The work has since become a deep commitment to the process itself.
38 Cecil Howell, New York
This series is an archive of ephemeral moments. They are drawings of deeply ordinary objects and shadows captured in fleeting compositions. Each becomes its own as the drawing dictates what it needs. The pieces lend importance to the accumulation of subtle shifts that make our days, but also speak to the fragility that with a gust of wind everything changes.
39 Anthony Tung Ning Huang, Tennessee
In 2020, I became enamored with the traditional printmaking processes. Daoist philosophy influences my artistic practice, Wu Wei—I am constantly trying to use Wu Wei to rethink the relationship between urban space and the natural world, and how it can create a spiritual sublimation for urban citizens.
40 Martha Ives, New York
Initially I focused on intaglio printmaking, and then shifted to multiblock relief and color inks as part of my process. Currently I’m primarily making white-line woodcuts, a technique that uses watercolor paint for more nuance and texture. This process also allows for individuality among each print in an edition, with each print creating its own challenges and surprises.
6 Works on Paper
Museum Crowd
Acrylic on paper
Figuratively Speaking (where’s my head at) II
Painted paper collage mounted on archival illustration board
Pond Shadows, Wyatt, MT. Gouache on paper
Floral Muse Intaglio and Chine collé
A footnote so tiny it slides off the page Soil, pastel, flashe
Above Tempestuous Clouds
Steel etching on Chine collé Kitakata
Painted Weaving No. 12 (Thank You, EmmaLee)
Watercolor and graphite on Arches hot press
At the Green Market White-line woodcut
Artists
41 Ambrin Ling, Oregon
My handmade paper scrolls, formed from recycled documents, form narratives of labor, power, identity, and belonging through their charged material histories. Instead of being tabula rasas, frayed scrolls allude to histories of empire that continue to affect contemporary valuations and devaluations of human lives and non-human matter.
42 Catherine Lipsetz Dauer, California
My process-oriented investigations celebrate intent observation, site specificity, happenstance, imperfection, and materiality. Artmaking is inherently experimental and experiential, and rooted to find grounding and connection in the highly distracted present of our modern world. The resulting works offer an invitation to look deeply and reflect on the expansive arc of lived experiences.
43 Harriet Livathinos, New York
I make abstract works on paper, Mylar, and canvas that depict how we think and feel in opposition to how things look. My process moves to tackle compositional, linear, and spatial concerns with the goal of addressing humanity’s needs.
44 Rita Maas, New York
My drawings map a garden’s character through sound. Sitting within various gardens, I listen to the sounds of birds in our shared habitat. I responsively make marks that correspond to what I hear. I do not look at the drawing as it is being made, surrendering composition to chance. Switching senses, from sight to sound, drawings become records that give visual fidelity to my auditory experience.
45 Susan Mania, New Jersey
From the many natural elements that arise in my work, flora, seeds, soil patterns, or fallen trees, I pull apart individual components to re-mix elements, bringing a new interpretation through layered composition and a diverse color palette. Making connections through poetry and my own inner life, I convey a story of the environment as an intuitive exercise that speaks to our relationship with the land.
46 Diane Matyas, New York
My work connect the dots between the human experience and the allegories I find in biology, natural history collections, zoology, and my wild swimming practice. I create scenarios using animals, juxtaposed with man-made settings to present unexpected relationships and narratives that encourage deeper understanding of our interconnected world.
47 Eileen McGlynn, New Jersey
The natural world inspires my art and reflects my perception of my surroundings. My recent printmaking uses various techniques, including cyanotype and ink-based monoprints.
48 Tammi J. Meehan, Massachusetts
As a multi-media artist and as a practicing psychotherapist, my interest in Jungian psychology, Neuroscience, and Humanism are recognizable influences. My daily meditation practice is the mainspring of my current work representing eclectic integrations of conceptual methodologies, cosmic symbolism, archetypal visions, and stylistic diversity.
Global Anxieties and Existential Doubt
White conte on indigo dyed handmade paper
Patience Watercolor on paper
The Great Divide Graphite and ink on paper
Lasdon Arboretum, Katonah, NY, May 30, 2023; 9:45 - 9:57 Graphite on Swathmore paper
Morphology S24 Botanical lake pigment tempera on paper
Octopus Double-sided Pastel
Angels Near Cyanotype
Cell Song
Acrylic and oil pastel on paper
Works on Paper
49 Amalia Mermingas, Connecticut
Inspired by memories of Greece and the new landscapes of America, I am informed by my foreign experiences and multicultural background. My work alludes to voyages at sea, distant lands, and exploring the unknown. Repeated marks, illegible writing, and curious imagery are used to engage the viewer with the surreal memories. These monolithic works document and celebrate my surroundings.
50 Marilyn Mitchell, New York
I explore how culture is reflected in newspapers and magazines and am intrigued by the contrast between ads and tragic news. Inspired by Robert Ryman and Allen Ruppersberg, I employ white paint and sewing to add layers, which sparks dialogue across art’s timeline by combining representational and abstract elements.
51 Margaret Montgomery, New York
I seek to convey the wonder and awe of living in a city as vast and grand as New York. I am captivated by the city’s nighttime magic, the way darkness veils architecture while lights create an ethereal environment, and am immersed in a vast, interactive light sculpture.
52 Olga Nenazhivina, New Jersey
My parents lived artistic lives and were certain that I would be an artist. When I turned four, drawing and reading books on art and anatomy became my “work.” Now this world gives me information and I put everything that I see and feel on paper.
53 Ajean Ryan, Colorado
As a contemporary Asian American artist, I seek to create meaningful art that bridges both regions and histories. During the pandemic, I delved into pen and ink drawings and was inspired by ancient uses of Vermillion. My work highlights and celebrates the connections of materiality with Eastern and Western processes.
54 Kathleen Shaver, New York
One day, on impulse, I rubbed charcoal and vellum over a thickly textured painting stored in my studio, which revealed bold and delicate lines and the wood panel’s texture. Pleased, I experimented with Evolon paper and oil stick pigment, thus embracing accidental marks and adopting a new paper-based approach.
55 Robert Silance, South Carolina
Photography is a process of visual editing where collected images are placed in alternate contexts to see something different. My goal is that form and content should be indistinguishable. The photograph’s interest lies mostly in its recording; the photograph is an object in and of itself.
56 Sarah Smelser, Illinois
In 2020, I made works that expressed the off-kilter sense of reality of the time and have since turned them into experiments. My work has a distinct approach to place, landscape, and cityscape that allow for repetition, balance, unitization, and chunking to exist with solid, heavy, emphatic gestures.
Lithos II
Watercolor and graphite
Hudson Valley Beautiful Oil, india ink, fabric, tassels, microbeads, etc.
Wonder Wheel
Watercolor and gouache on paper
Trees
Sumi ink, wash, paper
Cliff Dwelling Ink on paper
Rubbed Drawing No. 42 with Red Oil stick on Evolon paper
Untitled 26 Photography
Defying the Laws XII Monotype
Artists
57 Barbara Straussberg, Pennsylvania
I am a Philadelphia-based abstract artist whose process intersects ancient Korean paper art with contemporary abstract painting. I look to capture the feeling of being in nature by transforming natural and human physicality into line and paint to break the boundaries of past and present, and paper and paint.
58 Janis Sweeney, Kansas
My mark-making is influenced by man-made and natural structures and I explore it through my intaglio and serigraph prints on paper. I am drawn to printmaking for its history and my love of the process. I enjoy the experimental breadth it offers my practice and the expressive image-making that comes from it.
59 Jessica Tawczynski, Massachusetts
Built through a process of collaging found materials and map-making, my work becomes anthropomorphic caricatures of places and landscapes. The paper-based works refer to tapestry making, printmaking, installation, and the history of painting. I find meaning through material agency, relationship to the body and references to the sublime components of an environment under constant transformation.
60 Lynne Tobin, New York
I am inspired by the materials, rhythms, and patterns found in domestic work, and in crafts traditionally associated with women, such as stitching, mending, and weaving. The repetitive patterns created with string and rope are reminiscent of textiles-- like threads on a loom woven together on paper.
61 Brian Truesdale, Maryland
My art is a continuous search to find the key to the mysteries of lines, color, and texture built up in the layers of passion, humor, anger, and solace. My art has a conscious process, but it is not just an intellectual exercise; it is about the feelings and emotional responses viewers get from viewing art.
62 Lorraine Walsh, New York
I explore ways in which nature and science inspire my art; an approach that offers a constellation of meaning, discovery, and social implications. This allows me to comment on how societies and individuals interact with the natural world; from looking at climate change to creating poetic metaphors.
63 Madonna Yoder, Pennsylvania
My origami tessellations represent the joy of discovery and fascination of controlled complexity, as well as reach the underlying structures of reality. While every feature of each tessellation is planned, an observer will only see the mystery of many parts that somehow came from a single sheet.
64 Ed Zorensky, New Mexico
My paintings portray landscapes, structures, and figures of the Rocky Mountain West and Southern Maine. My works are realistic images in oil, egg tempera, and gouache that depict the visual tension between human and organic forms and capture images that reach beyond words to a direct experience of the “seen.” Works on Paper 9
Abbots Lagoon/Approach Five
Acrylic, graphite, and oil pastel on paper
Excavation No. 5 Collagraph print
Hex Weaver
Acrylic paint on paper, cellophane, plastic, grommets, nails
Threads #2 Ink on paper
Subconcious Coordinates
Oil pastel and charcoal on paper
ML BOTANICAL 10 Watercolor, drawing, print
Sirens Call Origami Tessellation, Skytone paper
House with Ell Gouache on paper
2023 Awards
Juror Marilyn Symmes Independent Curator, NYC
1st Prize
Jane Springwater
River Rocks
Etching (2 plates)
2nd Prize
Vesselina Traptcheva
Gaze III
Egg tempera on paper
3rd Prize
Bethanie Irons
Past, Present,
Future 7
Digital illustration
Honorable Mention
Measure Once
Multi-plate etching
River Rocks is a two-plate etching, using copper plates, printed on somerset paper. Both plates are aquatints. On the first, I drew lines close together using a Sharpie to resist the acid. On the second, I drew rock forms and used asphaltum to block the shapes to etch them.
These works explore shapes in the natural world. All the forms in these drawings are ones that I’ve observed during my time in nature. I’ve rearranged them into fantastical forests of my imagination.
The work in this series refers to how we assign meaning to our chance experiences through rituals and signs. By using a random assortment of objects as meaning-making devices, I’m give space for viewers to connect the dots for themselves in an interpretive and reflexive manner.
Time only moves in one direction. This unidirectional path leaves behind both positive and negative aspects. What is here to stay? What will remain? What will be remembered?
Brandon Williams
Peggi Einhorn Award
Annual Works on Paper First Prize Award
Peggi Einhorn, a former LBIF Board member, enjoyed a life-long love for creating and studying art.
Peggi passed away in February 2023, after a two year battle with brain cancer. Her family established this annual first prize award for the Works on Paper exhibition in celebration of Peggi’s creativity, generous spirit and uncommon grace.
After a college major in Art History, Peggi first worked in museums (at The Metropolitan Museum of Art, The Jewish Museum and The National Endowment of the Arts) before embarking on successful careers in banking at J .P. Morgan Chase and in philanthropy as the C.F.O. of The Robert Wood Johnson Foundation.
Peggi loved to draw and illustrate almost anything in her line of sight—from candid caricatures of her co-workers, to memorable scenes from far flung vacation spots, to LBI’s natural beauty. But Peggi’s favorite art form was life drawing—nothing was more interesting to her than capturing the complexity of the human form. Over the past 20+ years, Peggi enjoyed many of the art classes and exhibitions at LBIF, including participating in a recent LBIF faculty student art exhibition. Having the bay, the ocean and the arts all just a short bike ride from her Harvey Cedars home made LBI Peggi’s perfect place.
About The Long Beach Island Foundation of the Arts and Sciences
Founded in 1948 by Boris Blai, the Long Beach Island Foundation of the Arts and Sciences (LBIF) is an outstanding community and cultural facility. Dr. Blai, a student of sculptor Auguste Rodin and founding dean of the Tyler School of Art at Temple University, envisioned a facility that would foster individuals and their talents.
The LBIF has continued this vision by offering thousands of classes, workshops, exhibitions, and educational programs to the community. Since its first season, the LBIF has committed itself to the enhancement of the creative arts and the physical sciences, and though it began as a seasonal operation, the LBIF has grown into a year-round organization providing a place for learning, free expression, and the exchange of ideas and understanding. The LBIF invites all visitors and residents to participate in the many programs and activities offered in its 76th year on LBI!
The LBIF is a registered nonprofit 501(c)(3) organization. Your Membership provides critical support for the Arts, with opportunities and experiences that provide enrichment for all. Please visit lbifoundation.org for more information about Membership.
2024 Index
1. Bobby Abate
2. J[ulie] L[ee] Abraham
3. Joanne Agabs
4. Keisha-Gaye Anderson
5. Sarah Moli Newton Applebaum
6. Molly Aubry
7. David Avery
8. Erica Barajas
9. Kathryn Beavers
10. Tamie Beldue
11. Susan Bennerstrom
12. Lauren Bierly
13. Aidi Birritteri
14. Wendy Bloom
15. Camille Ann Brewer
16. Thomas Brummett
17. Fidalis Buehler
18. Chris Bunney
19. Lijun Chao + Andy Holliday
20. Anna Chupa
21. Thomas Crawford
22. Heidi Curko + Jed Miner
23. Len DeLuca
24. Arlene Farenci
25. Anna Fine Foer
26. Kristina Glick
27. Catherine Gowen
28. Catherine Gowen
29. Katie Gross
30. Anna Guarneri
31. Morgan Hale
32. Elizabeth Hamilton
33. Arran Harvey
34. Paula Henderson
35. Gregory Hennen
36. Yuji Hiratsuka
37. Kate Hopkins
38. Cecil Howell
www.sweetkitty.com
www.jlabraham.art
www.keishagaye.ink
www.sarahapplebaum.com
www.mollyaubry.com www.davidavery.net www.ericabarajas.net www.kathrynbeavers.com
www.tamiebeldue.com
www.susanbennerstrom.com www.laurenbierly.com
www.aidabirritteriart.com
www.studio-4a.com www.fidalisbuehler.com
www.andyholidayart.com
www.annachupadesigns.com
www.heidicurko.com www.lendelucafineart.com www.arlenefarenci.com www.annafineart.com www.kristinaglick.com www.annaguarneri.com
www.morgan-hale.com www.elizabethhamilton.com www.arranharvey.com www.paulahendersonart.com www.gregoryhennenpaintings.com www.yujihiratsuka.com www.katehopkinsstudio.com
39. Anthony Tung Ning Huang
40. Martha Ives
41. Ambrin Ling
42. Catherine Lipsetz Dauer
43. Harriet Livathinos
44. Rita Maas
45. Susan Mania
46. Diane Matyas
47. Eileen McGlynn
48. Tammi J. Meehan
49. Amalia Mermingas
50. Marilyn Mitchell
51. Margaret Montgomery
52. Olga Nenazhivina
53. Ajean Ryan
54. Kathleen Shaver
55. Robert Silance
56. Sarah Smelser
57. Barbara Straussberg
58. Janis Sweeney
59. Jessica Tawczynski
60. Lynne Tobin
61. Brian Truesdale
62. Lorraine Walsh
63. Madonna Yoder
64. Ed Zorensky
www.anthonyhuangtn.com www.artofmarthaives.com www.ambrinling.com www.catherinedauer.com www.harrietlivathinos.com www.ritamaas.com www.susanmania.com www.matyasart.com
www.tammijmeehan.com www.marilynmitchell.net www.margaretmontgomeryartwork.com www.nenazhivina.com www.ajeanryan.com www.kathleenshaver.com
www.sarahsmelser.com www.barbarastraussberg.com www.janissweeney.com
www.jessicatawczynski.com www.lynnetobin.com www.briantruesdale.com www.lorrainewalsh.com www.training.gatheringfolds.com www.edzorenskystudio.com
We thank the New Jersey Council on the Arts and the Ocean County Board of Commissioners for their support.
