Cover Design: Leah Knecht Cover artwork courtesy of the artists: Top right: Warner LeMĂŠnager L-R: Emily SuĂąez, Rhonda Raulston, Janet Manalo, Sonali Kolhatkar, Liz Crimzon, Kathleen Swaydan, Robin McCarthy, Mims Ellis, S. A. Smith, Steve Ohlrich Copyright held by artist. All rights reserved.
95th Annual Juried Exhibition at Montrose, California
Juried by Kim Abeles November 7 through December 5, 2020 Visit Whites Fine Art Gallery in Montrose to view the artwork featured in this online art exhibition. Visit whitesfineart.com for more information about the gallery.
President’s Message On behalf of all members of the Pasadena Society of Artists, I welcome you to our 95th Annual Juried Exhibition at Whites Fine Art Gallery and online. Since 1925, we have had our annual juried exhibition in local reputable galleries. Due to the pandemic, we are creating exhibitions with the help of members who master the digital technologies needed for virtual exhibitions and publications. Our founders called for a membership based on a high standard, with only art “of real merit” accepted. To this day, PSA maintains that same standard, along with an increase in membership cultural diversity. A variety of artistic expression and media is seen in the fine art of approximately 125 members. PSA thrives with the leadership of an elected Board of Directors, committee chairs, and an impressive list of dedicated volunteers. We are beginning our plans for our centennial celebration in April 2025, which will be a major exhibition plus satellite exhibitions and art programs in and around Pasadena. I invite you to visit our website often to stay in touch with our activities and become acquainted with our member artists. Victor Picou President 2013-2020
The Pasadena Society of Artists wishes to acknowledge and thank the Jeanne Ward Foundation for its continuing support. The Pasadena Society of Artists wishes to acknowledge and thank the Pasadena Arts League for its support.
A Short History of the Pasadena Society of Artists and the Annual Juried Exhibition The Pasadena Society of Artists came into being in early 1925. Benjamin C. Brown, the “dean of Pasadena painters,” sent out a notice to local painters to discuss the formation of a society for local artists. The consensus was that the Pasadena Society of Artists should be formed. Attending this meeting were Benjamin C. Brown, Edward B. Butler, Maud Daggett, Antoinette De Forest Merwin, Louis Hovey Sharp, F. Carl Smith, Orrin A. White, Wallace LeRoy De Wolff, and Frederick A. Zimmerman. Seven more artists then joined PSA to form the founding charter members. They were Herbert V. B. Acker, F. Tolles Chamberlin, Alson S. Clark, John “Jack” Frost, Jean Mannheim, Katherine B. Stetson and Marion Wachtel. It has been suggested that PSA was formed out of the desire of the founders to exhibit their contemporary work, which was not acceptable in exhibitions of the California Art Club. The first Annual Juried Exhibition was presented in April 1925 at the Pasadena Art Institute located in Carmelita Park, now the site of the Norton Simon Art Museum. The PSA founders stated that “the standard will be high and only work of real merit will be accepted.” Every year since 1925 PSA has presented an Annual Juried Exhibition, this year being the 95th Annual. For more than 50 years PSA exhibited at the Pasadena Art Institute/Pasadena Art Museum in addition to presenting Annuals at various institutions throughout southern California. PSA continues to adhere to the guiding statement of the founders by accepting new members by juried submission.
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Artists Directory
Table of Contents President’s Message & Short PSA History Table of Contents & Artists Directory Juror Statement & Biography Awards of Merit Memorial Awards Memorial Award Histories Honorable Mention Awards Andrea Abonyi Vibiana Aparicio-Chamberlin Julianna Aparicio-Curtis Mariko Bird Darien Donner Michael Childs Liz Crimzon Jeffry Jensen Rick Drobner Martin Ehrlich Warner LeMénager Mims Ellis Mina Ferrante Leah Knecht Nora Koerber Sonali Kolhatkar Brian Mark Janet Manalo Robin McCarthy Peter McDonald Victor Picou Albert Natian Margaret Raab Steve Ohlrich Nancy Wood Pink Tom Oldfield Rhonda Raulston Jackie Steimke Emily Suñez S. A. Smith Kathleen Swaydan Barbara Thorn Matthew Tanaka Tsvetelina Valkov Shaney Watters Ken Weintrub Contact the Artist PSA Board of Directors Catalog Production Team Call for New Members
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Andrea Abonyi Vibiana Aparicio-Chamberlin Julianna Aparicio-Curtis Mariko Bird Michael Childs Liz Crimzon Darien Donner Rick Drobner Martin Ehrlich Mims Ellis Mina Ferrante Jeffry Jensen Leah Knecht Nora Koerber Sonali Kolhatkar Warner LeMénager Janet Manalo Brian Mark Robin McCarthy Peter McDonald Albert Natian Steve Ohlrich Tom Oldfield Victor Picou Margaret Raab Rhonda Raulston S. A. Smith Jackie Steimke Emily Suñez Kathleen Swaydan Matthew Tanaka Barbara Thorn Tsvetelina Valkov Shaney Watters Ken Weintrub Nancy Wood Pink
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Juror’s Statement
Thank you for the opportunity to jury the Pasadena Society of Artists’ 95th Annual Juried Exhibition. Arts organizations like this are especially important in our current environment because they bring people together through the process of art and creative energies. As individuals in the arts, and for those that cheer us on, creativity provides a layered, interwoven guide through the complexities that surround us. Narrative forms push us to new understandings, and non-objective abstractions steer unspoken responses. Like so many events across the globe, this show (originally scheduled for early 2020) was postponed due to the pandemic. Creativity has been so important to individuals and audiences during this time of Covid. The quarantine that was set in place for our own safety and the health of others – family and strangers alike –generated a uniquely challenging circumstance to reflect upon society and our place in the world. This is also an age to revisit artforms like poetry and visual expression from a vantage point where time is shaken as if the hands of the clock go simultaneously forward and backward. Some of the artists in the exhibit made direct reference to the pandemic, while others made note in their statements about their quarantine. Clearly, each artist reacted to this urgent dilemma through creative production, and some through a new-found lens. Artists are particularly brave when they intuitively express and experiment. The exhibition is comprised of a range of genres, media, and approaches. The variety in the artworks is where I was able to see most clearly how our artmaking becomes a portrait of ourselves – a self-portrait, a collective, a community portrait. Each artwork communicates as much through process as manifestation – the journey as well as the destination.
Kim Abeles
October 2020
Kim Abeles Kim Abeles is an artist whose artworks explore biography, geography, feminism, and the environment. Her work speaks to society, science literacy, and civic engagement, creating projects with science and natural history museums, health departments, air pollution control agencies, the National Park Service, and non-profits. In 1987, she innovated a method to create images from the smog in the air, and Smog Collectors brought her work to national and international attention. In Photo by Tony Pinto 2019, she worked with the Garage Museum of Contemporary Art in Moscow to create smog portraits of world leaders with quotes from climate summits. The National Endowment for the Arts funded two recent projects: a residency at the Institute of Forest Genetics, where she focused on Resilience; and “Valises for Camp Ground: Arts, Corrections, and Fire Management in the Santa Monica Mountains” in collaboration with Camp 13, a group of female prison inmates who fight wildfires. She has received fellowships from the Guggenheim Memorial Foundation, J. Paul Getty Trust Fund for the Visual Arts, California Community Foundation, and Pollack-Krasner Foundation. Her work is in forty public collections including MOCA, LACMA, Berkeley Art Museum, Brooklyn Museum, and National Geospatial Intelligence Agency. Her process documents are archived at the Center for Art + Environment.
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Awards of Merit
Masked Warrior Sonali Kolhatkar Acrylic on Canvas
Welcome Brian Mark
Picasso Marble
The Benefit of the Doubt Tsvetelina Valkov Etching, Aquatint and Watercolor Monoprint
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Memorial Awards
Verdant Web Margaret Raab
Oil on Board The James Ackley McBride Landscape Award (Best Landscape)
Tia Blanca Vibiana Aparicio-Chamberlin
Golden Barrel Sea Emily SuĂąez
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Oil on Canvas The Chantal Giddens Memorial Award (Best Painting)
Watercolor with Ink on Paper The Martin Mondrus Memorial Award (Best Portrait)
The James Ackley McBride Landscape Award (Best Landscape) This award has been given to a selected artist at every PSA Annual Exhibition since the late 1920s. Dr. and Mrs. McBride established the award in the memory of their son, James Ackley McBride. James served in the French Army during WWI, transferred to the American Expeditionary Force in 1917, was a 1st Lieutenant and pilot in the 9th Aero Squadron on the Western Front. He died October 6, 1918 and was buried in Argonne Remy Cemetary in Europe. Eva Ackley McBride was an artist painting oil and watercolor landscapes. She studied with Henry Joseph Breuer and William Merit Chase. She was an early member of the Pasadena Society of Artists, the California Art Club and the La Jolla Art Club. In 1922, Mrs. McBride was one of the founders of the Pasadena Art Institute, located in the Reed mansion in Carmelita Park, on the northeast corner of Orange Grove and Colorado Boulevards. PSA’s first Annual Exhibition was at the Pasadena Art Institute in 1925.
The Chantal Giddens Memorial Award (Best Painting) Chantal Giddens was born and educated in France. She studied in Bordeaux, Hong Kong, London and Los Angeles, notably under the renowned artist Douglas Bond. Chantal embraced and was influenced by the diverse cultures from the continents on which she lived, especially her many years in Asia. Her love for Asian design, combined with a passion for myth and fairy tales, were primary elements in her paintings. Studies of women, and the symbols of their emotions and dreams, were a prominent feature of her work. Chantal’s paintings and drawings were always rendered with a meticulous attention to detail and a captivating, alluring elegance.
The Martin Mondrus Memorial Award (Best Portrait) Martin Mondrus was a printmaker, painter and a PSA Distinguished Artist during his 50-plus years as a member of the PSA. He was a two-term president of the PSA and won multiple PSA Awards of Merit. Over the years, he had over 20 solo exhibitions throughout California. He studied at ArtCenter School, California State Los Angeles, Claremont Graduate School, Otis Art Institute, and Atelier 17 (Paris). He was a Professor of Art at Glendale Community College and a member of the Los Angeles Printmaking Society.
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Honorable Mention Awards
Rhapsodie Provenรงal Mariko Bird High-Fire Clay 2-piece set
Many Worlds Interpretation Albert Natian Pen and Ink on Paper
Taking It All In Nancy Wood Pink
Glazed High-Fire Stoneware 8
Shadows Andrea Abonyi
Digital Media (photography based) Inkjet print on 100% cotton fiber Fine Art Paper 8" x 7.5" $520 A/P limited edition of 25 I create narrative photo compositions. My aim is to describe human traits and characteristics. Working with digital tools gives me the freedom to develop a narrative theme that describes the human condition and addresses everlasting topics like secrecy or bonds, etc. I also create graphical patterns and forms that I then weave into my narratives and portraits. Click here to contact artist or for additional contact information visit page 80.
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Tia Emilia Vibiana Aparicio-Chamberlin
Watercolor with Ink on Paper 24" x 16" $900 I tell the visual story of my recently deceased TĂa Emilia (1923-2020). This is a watercolor memoir.
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Tia Blanca Vibiana Aparicio-Chamberlin
Watercolor with Ink on Paper 24" x 16" $900
The Martin Mondrus Memorial Award (Best Portrait) TĂŽa Blanca is another important woman in my family. She is part of a series of beloved family members that I honor with their portraits and stories that I handwrite in the painting.
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Bees in a Thistle Field Julianna Aparicio-Curtis Pen and Ink 20" x 26" $700
Sitting in my backyard one morning I watched the bees transferring pollen between flowers. The work never seemed to end, although it looked so joyful, not like work at all: a happy synchronized dance. I sketched and imagined bees dancing in a grassy thistle field in late spring, keeping the cycle of life forever turning.
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Ice Pond Julianna Aparicio-Curtis
Encaustic and Ink 16" x 20" $425 As I was laying the wax down and layering ink and mica fragments, a winter pond came alive and revealed itself: frozen, cold, yet very vibrant. The eerie mist of the frozen layer allows a glance into an underwater winter ecosystem.
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Nara Vase Mariko Bird
High-Fire Clay 19" x 7" x 7" $370 This vase revives some fond memories of my visits to the ancient capital of Japan.
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Rhapsodie Provenรงal Mariko Bird
High-Fire Clay 16" x 8" x 5" $330 2-piece set
Honorable Mention
The stone ruins of Provence inspired me for this pair. Tea lights or candles will light them up from inside, projecting an aura of the old days.
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Undersea #3 Mariko Bird
High-Fire Clay 10" x 12" x 10" $190 Is this an animal, mineral, or vegetable?
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Soil-melt Darien Donner
Watercolor on Cotton Paper 23.5" x 31" NFS Sometimes I have to melt into the soil to feel where I am standing.
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Crossing Together Michael Childs
Purpleheart Top/Padouk Legs/Oil Finish 30" x 42" x 13.5" $2500 I have been building one thing or another since I was five, over 70 years or so. In 2005, I decided to build furniture of my own design that could fit in my truck, making them easier to transport and show. My ambition was to design pieces that had never been seen before. I decided to design a table with a minimum of structure. Every table I had ever seen had a perpendicular support system, either legs or a pedestal. Why not extend the legs from one corner to another, cantilevered, as long as four feet remained on the ground? What would happen? The result was a table that appeared to be walking. Then I experimented with six legs walking around the perimeter of the table top, or making the table “walk” sideways. When I saw a flat piece of highly figured purpleheart, I decided to do just that: make a serene flat surface that accentuated the wood while placing the legs in a wild dance, thus “Crossing Together.”
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Running Table Michael Childs
Lightly figured spalted maple 30" x 45" x 11" $2200 I fell in love with a piece of wood that was only fit for the garbage: it had worm holes, cracks, dry rot. It was too narrow to place the legs in the corners as I usually do, too narrow for any real functionality except to accent an entryway or fit against a wall and hold a photo or sculpture. What to do? My wife and I reconditioned the top, she cleaning up the live edge and I pouring epoxy into holes and cracks. We turned it over and soaked the wood with penetrating epoxy to stabilize the dry rot. Then I installed the legs with invisible dowels, placing them to look like running legs in both directions for the fun of it. Then she got to work sanding and sanding and both of us sanding until the whole table was glass smooth. Then we added coat after coat of teak oil until the wood was fully saturated, at least 20 coats. Thus was born “Running Table.�
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19NJ Liz Crimzon
Original Digital Photograph 11" x 14.375" $200 Man-made and natural environments combine along a storm drain numbered “19NJ.�
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Private Property Liz Crimzon
Original Digital Photograph 11" x 14.375" $200 The natural environment patiently reclaims a worn and weathered asphalt carpark.
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Stones and Circles Liz Crimzon
Original Digital Photograph 14.375" x 11" $200 The human imagination works in harmony with the natural environment to create a work of art.
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Tangled 2 Jeffry Jensen
Digital Photograph 11" x 14" $125 For the 95th Annual Juried Exhibition, I chose a digital photograph that presents inventive natural shapes that I hope will entice the viewer to approach the image with a touch of wonder.
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Social Distancing Rick Drobner
Acrylic 33" x 37" $1200 I broke away from my normally hard-edged technique. This painting is much more free than my usual self-imposed color-in-between-the-lines style. COVID-19 has forced the public to commit to some uncomfortable new realities. We must distance ourselves from each other so as to inhibit the spread of this deadly disease. This painting is a gentle reminder that an easy feat like distancing can save lives. Wear a mask.
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Where’s My Parade? Rick Drobner
Acrylic 33" x 37" $1200 Well, okay. It’s all about me after all; July 18 I became 80 years old. The whole world is shut down. Thousands of people are succumbing to the COVID-19 virus every day. This artist’s birthday made not so much as a ripple in the greater scheme of things. My loving wife and I went out to dinner and no waiters showed up with a dessert with a candle and birthday song. Poor me; so I threw a handful of confetti and said yippee. More importantly, when I laid my head on the pillow I thanked my higher power for another day on the planet. Gratitude and humility don’t always come easily. Click here to contact artist or for additional contact information visit page 80.
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Big Muddy (The Mississippi River) Martin Ehrlich
Raku Fired Ceramic 66.5" x 25" x 4" $1068 This piece symbolizes the continuing changes as one views the greatest river in the United States. It follows a tumultuous winding path. Water color changes from place to place and depending on the time of day and season. All three of my pieces in this show are glazed with the same three glazes. The different textures and hues are a result of how each piece was fired and reduced after firing.
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Ethereal I Martin Ehrlich
Raku Fired Ceramic 9" x 5.5" x 5.5" $138 Feel the romantic mysticism of a soft shiny glow emanating from a miniscule particle in the universe. All three of my pieces in this show are glazed with the same three glazes. The different textures and hues are a result of how each piece was fired and reduced after firing.
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Smokey Martin Ehrlich
Raku Fired Ceramic 7.25" x 4.25" x 4.25" $86 A silvery haze settles over the land. A tribute to the fiery tragedy that has befallen California, a land covered with fire year after year. All three of my pieces in this show are glazed with the same three glazes. The different textures and hues are a result of how each piece was fired and reduced after firing.
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Hobby Horse Warner LeMĂŠnager
Photography (rendered) on Paper 10" x 15" NFS In Montmartre, Paris, known for its famous nightlife and artistic past, one stumbles upon a toy maker in wood; amongst those hobby horses, thus the symbol in their name. This photo has been rendered for effect of the area.
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Baobab Tree Mims Ellis
Ceramic 11" x 13" x 4.5" $400 The baobab tree is known as the tree of life. Every part of the tree is useful. It can provide shelter, clothing, food, and water for the animal and human inhabitants of the African savannah. The cork-like bark and huge stem are fire resistant and are used for making cloth and rope.
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Epicenter Mims Ellis
Ceramic 11" x 8" x 8" $275 This piece has the general shape of a beehive, but that’s where its similarity with a beehive ends. There are different textures and patterns. And different colors. And the pieces don’t fit exactly together. Who constructed this hive? Human or alien? More concerning is what kind of insect will swarm out of this hive?! And what is its intent and purpose?!
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Quarantine with My Dog Mina Ferrante
Watercolor on Cold Press Paper 16" x 20" $650 During the first eight weeks of the pandemic quarantine, I enjoyed living my days at a slow pace. I did not rush through my day like I usually do. I really observed what was going on around me. One day, I walked into a room and saw my son Micangelo playing his guitar. I stopped and looked at the way the sun was shining on him and thought how beautiful that moment was. I want to capture this moment because I know my eighteen-year-old son will fly away from our nest someday soon. I’d better enjoy the moment of togetherness while it lasts.
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A Violet Rose Mina Ferrante
Pastel Pencils on Pastel Paper 8" x 6" $200 I saw a violet rose trembling in the morning sun. It reminds me of a heart beating its nervous pulse of love. I wonder what is worse: having a heart with no feeling or an in-love heart hurt from the feelings of missing its lover?
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America the Beautiful Leah Knecht
Oil on Mirror, Trash, Resin 27" x 45" x 3" $5500 Based on the painting “Echo and Narcissus� by John William Waterhouse, this piece is painted on a found vanity mirror, with the gray areas unpainted mirror. It is a comment on our wasteful culture, with post-consumer waste embedded in the resin. The viewer is reflected in the mirror to invite questions.
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The Rise and Fall Leah Knecht
E-waste, Oil on Cradled Panel, Resin 26" x 14" x 2" $4000 “The Rise and Fall� is based on the mythology of Icarus, updated for our current situation. Is technology a potential savior, or part of the problem? More broadly, is overreaching ambition our downfall? (The original image of the two figures is based a painting by Jacob Peter Gowy, a 17th-century artist.)
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The Lemon Tree Nora Koerber
Oil 12" x 11" $700 Upon a plein air excursion, I spied a subject. Initially, I saw a charming yellow house that happened to have a wonderfully wild lemon tree against its side, with layers of foliage and crowning mountains behind. I realized it was that cluster of plump, yellow lemons that were the star; the charming little house became a supporting cast member.
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The Meeting Room Nora Koerber Oil 9" x 12" $950
Along Heisler Beach in Laguna, while looking for photo opportunities for painting subjects, I was fortunate to come upon an unusual and charming situation. Two women in their bathing suits were sitting in shallow tidepools, intimately discussing Life. I know how this is. We women talk intensively about our personal lives. I was reminded of a private conference room, but this one was in a much more pleasant atmosphere.
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Goddess of Death Sonali Kolhatkar
Acrylic on Canvas 20" x 16" $450 The Hindu Goddess Kali, often considered the goddess of death, looms large in our consciousness as viruses stalk the living. It is fitting to imagine her stalking the virus and planning its demise as an ode to divine intervention.
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Masked Warrior Sonali Kolhatkar
Acrylic on Canvas 20" x 16" $425
Award of Merit Waking up every morning and venturing out into the world has felt like being a soldier preparing for war - a war against illness and ignorance.
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Infinity Brian Mark
Picasso Marble 19.5" x 15" x 11" $4100 The raw stone (Picasso Marble) said to me, “Think circles and holes.� Once I was done with this creation, I realized that those circles and holes represent what Infinity was trying to tell me.
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Pinwheel Brian Mark
Andes Blue Onyx 28" x 14" x 13" $4500 This sculpture, made from Andes Blue Onyx (which comes from Argentina), demands that its gorgeous color palate be the focal point. The stone told me to make only one hole and I decided that the stone needed some graceful lines. The result of that dialogue is “Pinwheel.�
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Welcome Brian Mark
Picasso Marble 17" x 15.5" x 15" $4025
Award of Merit
Picasso Marble is a rare stone available only from parts of Western Utah. It was submerged under deep sea twice over two million years. The minerals were crushed together by the enormous water pressure. What we know today as Picasso Marble shows its many colors and lines. I created this sculpture in 2019.
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Fertility Janet Manalo
Mixed Media, Acrylic on Canvas 25" x 11" $1500 I like to construct, then deconstruct, and finally reconstruct my painted canvases. The process is liberating because I encounter unintended results. New images emerge from the reconstructed and layered canvases. The imagery in “Fertility� speaks to the jarring disconnection many females face in today’s society.
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After It’s Gone Robin McCarthy
Digital Collage on Fabric with Hand Embroidery 20.75" x 25.5" $5200 During this crazy year of 2020, my inspiration seems to be related to the politics and behavior of the world around me. The man and the flames are hand-embroidered upon a digital background. It is meant as a reminder that wealth will not protect one from a depleted planet.
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Sacred Cows Robin McCarthy
Digital Collage on Fabric with Hand Embroidery 23" x 30" $7500 This piece was embroidered entirely with tiny French knots. It was inspired by my concern about the environment, as well as the treatment of the animals we consume.
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A Memory of Trees Peter McDonald
Watercolor with Ink 24" x 18" $1300 California’s wilderness is burning and I take it personally, not only as a nature lover, but as an abstract artist. Trees are one of my basic symbols for security, roots of belonging, serenity. Here, even the ash from the yellow-orange inferno seems to mourn the trees, echoing the shape of the destroyed tree tops, while my mind sees, not blackened stumps, but a fevered memory of what was.
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Life of the Party Peter McDonald
Watercolor with Ink 24" x 18" $1300 There is that moment at a party when the early awkwardness has been thrown off by the camaraderie, good cheer, and just the right amount of alcohol. It is bold colors, a swooshing to a crescendo. But then the night’s flamboyance becomes flecked with growing dark spots: a little too much booze, soured humor and brittle sensitivity. The mood begins breaking apart. What goes up must come down.
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The Fabric of Time Peter McDonald
Watercolor with Ink 18" x 24" $1300 There are time warps, you know. Albert Einstein had a mathematical formula showing how gravity is caused by time and space. But let me spare you the headache and show you the fabric of time, warped by planets, in the luscious shades of my watercolor palette. I’m told time in space is different than on Earth, but only slightly. In the studio it’s another story. But who’s counting?
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Rainbow Makers Victor Picou
Wax Pencil on Paper 14" x 10.5" $450 The “Rainbow Makers� are working hard to get the colors just right for the awesome alignment of the seven colors needed for a full spectrum of color. Each artist pushes and pulls to get all the colors just right.
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Many Worlds Interpretation Albert Natian
Pen and Ink on Paper 15" x 11" NFS
Honorable Mention Quantum mechanics possibly tells us that at every moment parallel universes are created and bifurcated, each on a trajectory of its own: Many Worlds!
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Extrospection Albert Natian
Pen and Ink on Paper 11" x 15" NFS In a far-distant future autonomous AI convene to collectively cogitate on the meaning of all consciousness and existence!
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Elephant in the Room Albert Natian
Pen and Ink on Paper 11" x 15" NFS What elephant is in your room? There’s not -- it seems -- just one elephant or one room, of course. But there is one big one. Which is it?
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Verdant Web Margaret Raab
Oil on Board 22" x 40" $3250
The James Ackley McBride Landscape Award (Best Landscape)
As individuals, we each have our own perspective of the world around us. The lens through which we observe our daily experiences varies depending on our interests, education, and exposure to the world. While I paint a variety of subjects, my work is rooted in my love of art history and my traditional training as an artist. Nature provides an inspiration for my work. Although my work is representational, I choose to create a contemporary composition. “Verdant Web� is part of a series of botanicals. It does not represent a particular place, but rather a collection of plants and flowers chosen based on the composition. My close attention to details and surface qualities demonstrates my desire to remain committed to my traditional approach to painting, as well as my desire to create a work that can be appreciated by viewers today. Click here to contact artist or for additional contact information visit page 81.
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Odd Man Out Steve Ohlrich
Oil on Linen 11" x 14" $950 A man is forever lounging in a state of repose. He’s completely unaware of the viewer; only his dog knows there is a world outside the painting.
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Stream of Consciousness Steve Ohlrich
Oil on Linen 12" x 14" $1050 Seeking new realities through meditation.
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Ribbon Pitcher Nancy Wood Pink
High-Fire Stoneware with Red Oxide Stain 11.5" x 9" $300 One exercise I delight in as an artist is the introduction of risk and craziness into traditional vessel forms. “Ribbon Pitcher” is a functional pitcher, but no one in his or her right mind would use it as such! I started with a smooth hourglass vessel and then “exploded” it into an organized chaos of ribbon forms. I thought the pitcher had a volcano-like look, so I used red oxide instead of glaze to bring out that hot, earthy quality.
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Taking It All In Nancy Wood Pink
Glazed High-Fire Stoneware 15" x 5" $300
Honorable Mention “Taking It All In” began as a simple straight-sided vase with many symmetrical and identical spouts, but it quickly warped, twisted and deformed its way into a voracious organic form resembling driftwood or even a detached stomach with multiple orifices gasping to be filled. In art as in life, what we plan isn’t always what we end up with. Fortunately, sometimes the end result is better than our intention. Click here to contact artist or for additional contact information visit page 81.
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Triniunity Nancy Wood Pink
Unglazed High-Fire Stoneware 15.5" x 7" $500 One of the dominant concerns of American politics in 2020 has been the historical relationship among our three branches of government and how that relationship may look going forward. Although “Triniunity� was not created with that dynamic in mind, it does embody similar themes: the stability of the tripod, the valuing of individual identity/authority, and the need to subordinate individual power in order to create the power of unity and stability.
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Valet Parking Tom Oldfield
Archival Inkjet Print 16" x 20" $300 My photography is an escape from everyday reality. I am fascinated by the process of how things became what they are and where they are going, whether the subject is a grand landscape or some decaying technology from the past. All of my work is in black and white. To me a black and white image is more elegant and encourages people to participate by bringing their imagination into play. I mostly use traditional large-format film and traditional darkroom techniques. Although large-format film is my passion, I use other processes when that avenue is more appropriate for my image. Lake Valley, New Mexico, is a well-preserved ghost town. The stories told by the detritus of time gone by would be fascinating, but we have to make up our own. Click here to contact artist or for additional contact information visit page 81.
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In the Heart of the Beast Rhonda Raulston
Encaustic and Shellac 16" x 16" $550 I have been deeply affected by the recent wildfires in the Angeles Forest, just a few miles from my home, which destroyed over 115,000 acres of wilderness. The images of this conflagration were simultaneously exquisitely beautiful and profoundly devastating. I grieve for the overwhelming destruction of this natural wilderness and for the humans and wildlife who lost their homes and their lives. This work was created by applying shellac over an encaustic background, and then “painting� with an open flame torch. As the shellac burns and separates, I move and manipulate it with fire to create the lacy patterns. Multiple layers of wax and different colors of shellac are used to create depth. Creating art through flame and burning seemed a fitting tribute and commemoration for this tragedy.
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The Day After Rhonda Raulston
Encaustic 12" x 12" $400 Creating art through flame and burning seemed a fitting tribute and commemoration for the devastating wildfires that ravaged our wilderness. Shellac is applied over an encaustic background and then “painted� with an open flame torch. As it burns and separates, the shellac is moved and manipulated with fire to create the lacy patterns. Multiple layers of wax and different colors of shellac are used to create depth.
Click here to contact artist or for additional contact information visit page 81.
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Red Tree Jackie Steimke
Fused Glass 10" x 7" $150 Glass is seductive and challenging. It is not always cooperative, but that gives one an opportunity to be creative. The only limitations are your imagination and skill in working in this medium. I use all forms of glass: sheet glass, frit, stringers, and mosaic. I sometimes add inclusions of copper or silver sheeting and leaves. I also use glass paints and enamels. Except for the white piece of glass, this piece is made entirely of glass powder. It has many layers of the powder and several firings to ensure coverage and give texture.
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Tree of Happiness Jackie Steimke
Fused Glass 12" x 12" $175 Glass is seductive and challenging. It is not always cooperative, but that gives one an opportunity to be creative. The only limitations are your imagination and skill in working in this medium. I use all forms of glass: sheet glass, frit, stringers, and mosaic. I sometimes add inclusions of copper or silver sheeting and leaves. I also use glass paints and enamels. 2020 has been a year of years. We have all been negatively affected by events; feelings of despair, helplessness, and hopelessness; and, for some of us, illness. This glass art is a product of my own feelings of all the above. I wanted to create something joyful in this time of little joy. It is made of dichroic glass and each piece is lovingly placed. Click here to contact artist or for additional contact information visit page 81.
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Thrive Emily Suñez
Oil on Canvas 12" x 12" $550 My oil painting “Thrive” is part of a series of blooming cacti paintings I have been working on for the past year. This series explores the idea of thriving in the face of adversity. These desert plants can survive, grow, and bloom beautifully despite the harsh desert climate they inhabit.
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Golden Barrel Sea Emily Suñez
Oil on Canvas 24" x 20" $1000
The Chantal Giddens Memorial Award (Best Painting) I’m a nature and landscape oil painter, and I typically include desert plants in my work. A lot of my inspiration comes from strolls through the desert garden at the Huntington Library & Botanical Gardens. I take a lot of photographs there, which I often use as reference for painting. “Golden Barrel Sea” depicts a scene from my favorite part of the Huntington desert garden. The endless waves of golden barrel cacti evoke a sense of other-worldly wonder. Click here to contact artist or for additional contact information visit page 81.
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Onlooker Emily Suñez
Oil on Canvas 18" x 24" $950 My oil painting “Onlooker” expresses the feeling of isolation I experienced from years of debilitating chronic illness. I spent several years mostly homebound due to complications from autoimmune disease and found that the isolation I experienced was one of the most difficult aspects of dealing with illness. It felt as if I were no longer a participant in the world and was just an onlooker. A year after I created this piece, COVID-19 spread around the world, and we collectively were forced to stay in our homes in quarantine. This painting has since taken on a new meaning, as most people can now relate to the feeling of isolation due to quarantine, as well as a longing to be out in the world again.
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Dreaming the Oak Grove S. A. Smith
Mixed Media 3-D Painting 15" x 24" x 2" $425 I am a storyteller; the viewer is provided with images to create a personal narrative. Symbols tap into the subconscious mind. Like a dream, the various elements may not make sense logically, but they create their own reality for the viewer to decipher. Each viewer will follow a different path and find a different destination. The importance is that each interaction is personal and contributes to the life of the work of art. You sometimes dream of the butterfly, How do you know the butterfly isn’t dreaming you? Click here to contact artist or for additional contact information visit page 81.
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Still-life with White Pitcher, Egg and Pewter Vase Kathleen Swaydan Oil on Belgian Linen Panel 8" x 10" $395
I am a studio artist. My art focuses primarily on realistic still-life and landscape paintings. I work in several media depending on the subject at hand. Whether oil, watercolor, pastel, or graphite, my art is influenced by the ancient Greek and Roman tradition of still-life and landscape paintings frequently found on the walls of guest quarters in private domiciles such as those located in Pompeii. These images provided a private devotional area and visual banquet for the guests and evoked an impression of hospitality and generosity. This ancient tradition is the undertone of my artwork. “Still-life with White Pitcher, Egg and Pewter Vase� appears to be a monochromatic still-life study; however, the objects are represented in their actual color. The reflective surfaces offer additional interest for the viewer.
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Still-life with White Pitcher and Pomegranates Kathleen Swaydan Oil on Belgian Linen Panel 8" x 10" $395
I am a studio artist. My art focuses primarily on realistic still-life and landscape paintings. I work in several media depending on the subject at hand. Whether oil, watercolor, pastel, or graphite, my art is influenced by the ancient Greek and Roman tradition of still-life and landscape paintings frequently found on the walls of guest quarters in private domiciles such as those located in Pompeii. These images provided a private devotional area and visual banquet for the guests and evoked an impression of hospitality and generosity. This ancient tradition is the undertone of my artwork. “Still-life with White Pitcher and Pomegranates� focuses on the desiccated leathery skin of the pomegranates and the reflective quality of the ceramic vases. The cast shadow of the branch adds to the three-dimensionality of the painting.
Click here to contact artist or for additional contact information visit page 81.
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Still-life with Orange Kathleen Swaydan
Oil on Belgian Linen Panel 8" x 10" $395 I am a studio artist. My art focuses primarily on realistic still-life and landscape paintings. I work in several media depending on the subject at hand. Whether oil, watercolor, pastel, or graphite, my art is influenced by the ancient Greek and Roman tradition of still-life and landscape paintings frequently found on the walls of guest quarters in private domiciles such as those located in Pompeii. These images provided a private devotional area and visual banquet for the guests and evoked an impression of hospitality and generosity. This ancient tradition is the undertone of my artwork. “Still-life with Orange� incorporates complementary colors to create an agreeable composition. The translucent quality of the orange slice and the reflective surface of the vases provide additional interest for the viewer, while the eucalyptus pods and oak branch add depth.
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My Favorite Poppy Barbara Thorn
Watercolor 18" x 14" $325 My medium is watercolor. Creating a painting or drawing from nature stimulates our imagination. It fills our souls and brightens our spirits. It’s a reproduction of living things and a marvelous tool of self expression. I feel it surpasses any digital photograph.
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International Matthew Tanaka
Photograph 16" x 20" $375 We are all voyeurs, whether we choose to admit it or not . . . we watch, we observe, we live vicariously through what we see. I am a photographer and unabashedly admit that I am a voyeur and that I love looking through the lens to capture the pure emotion of a fleeting moment. It has taken me decades to finally ‘come out of the voyeur closet’ and show my art. We are all artists in some fashion. Our experiences influence how we express our art. Our history dictates our view. I am no exception. “International” was taken in 2019 while exploring in the hills of the California Central Coast with my wife. I was there when the late afternoon sun highlighted the abandoned truck’s beautiful state of decay. I was fortunate to capture this unique moment of transition that would have been forever lost . . . Click here to contact artist or for additional contact information visit page 81. 72
Lost Riches Matthew Tanaka
Photograph 24.75" x 36.5" $475
Lost Riches was taken in 2019 while exploring the high chaparral near Silver City, Nevada. My wife and I were photographing an abandoned silver mine and happened upon this deserted cabin. The dire feeling of human sacrifice and forsaken hope was emphasized by an ominous and stormy sky… We are all voyeurs, whether we choose to admit it or not . . . we watch, we observe, we live vicariously through what we see. I am a photographer and unabashedly admit that I am a voyeur and that I love looking through the lens to capture the pure emotion of a fleeting moment. It has taken me decades to finally ‘come out of the voyeur closet’ and show my art. We are all artists in some fashion. Our experiences influence how we express our art. Our history dictates our view. I am no exception.
Click here to contact artist or for additional contact information visit page 81.
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The Benefit of the Doubt Tsvetelina Valkov
Etching, Aquatint and Watercolor Monoprint 9" x 12" $680
Award of Merit When combining printmaking and watercolor techniques, the transparent appearance of aquarelle softens the heavy imprints of the ink, while the geometrical drawings of the etched plates form the construction of my prints. The coalescence between the etched ink and watercolor contributes to the balance of the composition and color choices. The etched image becomes an armature that holds the watercolor floating elements. Here, I paint directly on an inked plate, and the printing welds together layers of images one over another. Often, monotypes like this turn into unusual images, unlike my expectations. I gladly accept the mechanical way of converting the initial paintings where the force of the printing leaves its final marks. 74 Click here to contact artist or for additional contact information visit page 81.
Midnight Harvest Tsvetelina Valkov
Etching and Watercolor Monoprint 3" x 4.5" $380 This image is achieved by couples of etched layers, applied one over another on a copper plate. After being covered with ink, the plate is painted with watercolors.
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Sweet Acids Tsvetelina Valkov
Etching, Aquatint and Watercolor Monoprint 5.75" x 10" $380 Here, the countless curves of organic shapes’ “structure” soften the contrast between the mechanically divided printing ink and watercolor drops, as well as the contrast between the “sweet” and the “sour” . . .
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Where the Light Gets In Shaney Watters
Mixed Media (oil, metal leaf, graphite, pastels) on Raw Linen 24" x 24" $1300 I am an accidental mixed-media painter, unable to envision a return to a single medium. At present my work includes some combination of metal leaf, oil paint, graphite, soft pastel, wax pastel, and resin. Each time I paint I’m excited by the spontaneity and variation different combinations afford me. My goal is to share my personal and emotional connection with the subject, avoiding detached realism. In abstract paintings this is simple: I start with a drawing of the fantastic patterns created by cracks in the sidewalk, then layer glorious colors, focusing on joy and exploring color harmonies. My animal paintings demonstrate the importance and beauty of members of the animal kingdom, and our inevitable connection to them. Illuminated iconography inspires my use of metal leaf backgrounds, expressing the sparkle and uniqueness of each animal. I continue with more color, delight, and whimsy to create the final joyful package.
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Floating Ken Weintrub
Oil on Canvas 60" x 36" $2500 My work is lyrical, poetic, and meant to be savored and discovered unhurriedly. Although composed in earth pigments, as one contemplates this painting one has the unmistakable sensation of floating or soaring into it and away..
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Hot Day in L.A. Ken Weintrub
Oil on Panel 18" x 24" $650 This work was originally inspired by the Santa Ana winds that blow in off the desert from time to time, bathing Los Angeles in their heat. But it became an especially relevant painting in the late summer of 2020 as fires raged throughout the west. The warmth in it is palpable, punctuated by welcome, scarce traces of coolness.
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Contact the Artist Andrea Abonyi
andrea.abonyi9@gmail.com
https://andreaabonyi.com
Vibiana Aparicio-Chamberlin vibi@sbcglobal.net http://www.artediosa.com FB: Vib Aparicio Julianna Aparicio-Curtis
julianna.m.curtis@gmail.com www.juliannamarieartist.com FB:Juliannaapariciocurtis IG: juliannamarieartist
Mariko Bird marikoceramics@gmail.com www.marikobird.com FB: marikobird Michael Childs michael_v_childs@yahoo.com https://www.etsy.com/shop/michaelchilds http://www.michaelchilds.com Liz Crimzon crimzon@charter.net https://www.lizcrimzon.com Darien Donner dariendonner@gmail.com https://www.pasadenasocietyofartists.org/artists/darien-donner/darien-donner.html Rick Drobner rickdrobner@gmail.com https://www.pasadenasocietyofartists.org/artists/drobner/rick-drobner.html Martin Ehrlich
Me_RakuMan@aol.com
https://www.firewaterceramics.com
Mims Ellis mims.e@charter.net https://www.etsy.com/shop/MimsEllisCeramics https://www.mimsellisceramics.com FB: mims.ellis.ceramics IG: @mims.ellis.ceramics Mina Ferrante micanzi@sbcglobal.net http://www.minahoferrante.com FB: mina.h.ferrante Jeffry Jensen
jjensen011@earthlink.net https://www.pasadenasocietyofartists.org/artists/jensen/jeffry-michael-jensen.html
Leah Knecht leah@leahknecht-art.com https://www.leahknecht-art.com https://www.redbubble.com/people/Art4Equality/shop?asc=u FB: leah.knecht.3 IG: @leahknecht Nora Koerber
norakgroups@gmail.com https://www.norakoerber.com
Sonali Kolhatkar sonali@sonaliandjim.net www.Etsy.com/Shop/Skolhatkar http://www.sonalikolhatkar.com FB: ArtbySonaliKolhatkar IG: @SonaliKolhatkar Warner LeMĂŠnager ilmigliore@earthlink.net https://www.pasadenasocietyofartists.org/artists/lemenager/warner-lemenager.html Janet Manalo jrmana@pacbell.net IG: @JanetManalo20
http://www.JanetManalo.com
Brian Mark BrianMarkSculptor@gmail.com IG: @BrianMarkSculptor
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http://brianmarksculptor.com
Contact The Artist (con’t) Robin McCarthy robinmccarthy@mac.com http://robinmccarthyartwork.com IG: @robin_mccarthy Peter McDonald petermcdonaldart@gmail.com https://www.pasadenasocietyofartists.org/artists/mcdonald/mcdonald.html Albert Natian
Albert.Natian@gmail.com https://mathaftermath.net/
Steve Ohlrich
steve@steveohlrich.com http://www.steveohlrich.com FB: Steve-Ohlrich-Artist-113988151988029 IG: @steveohlrich
Tom Oldfield
toldfield@earthlink.net
https://toldfieldphoto.smugmug.com
Victor Picou
vicpicou@charter.net
www.victorpicou.com
Margaret Raab
margraab248@gmail.com http://www.margaretraab.com IG: @mjraabfineart
Rhonda Raulston
RaulstonART@gmail.com FB: RaulstonART
S. A. Smith
ateliersmith.1972@gmail.com
www.RhondaRaulston.com IG: @RaulstonART https://smithartonline.wordpress.com
Jackie Steimke steimke@sbcglobal.net https://www.pasadenasocietyofartists.org/artists/steimke/jackie-steimke.html Emily SuĂąez
emilysunez@gmail.com https://emilysunez.com FB: EmilySunez
IG: @Emily_the_painter
Kathleen Swaydan
kdswaydan@gmail.com FB: Kathleen Swaydan
http://www.KathleenSwaydan.com IG: @kswaydan
https://www.etsy.com/shop/ArtbyEmilySunez
Matthew Tanaka matt@sharedperspectivesphoto.com https://www.sharedperspectivesphoto.com FB: sharedperspectivesphoto IG: shared_perspectives Barbara Thorn betotto@gmail.com https://www.pasadenasocietyofartists.org/artists/thorn-otto/barbara-thorn-otto.html Tsvetelina Valkov lozenez1@yahoo.com https://www.pasadenasocietyofartists.org/artists/valkov/tsvetelina-valkov.html FB: Tsvetelina Valkov Shaney Watters shaneywatters@gmail.com https://shaneywatters.com IG: @shaneywattersart Ken Weintrub
kweintrub@gmail.com
http://www.kenweintrub.com
Nancy Wood Pink nwoodpink@gmail.com https://www.pasadenasocietyofartists.org/artists/nancy-wood-pink/pink.html
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Pasadena Society of Artists Board of Directors 2020 - 2021 President: Victor Picou President@PasadenaSocietyofArtists.org Executive Vice President: Robert Asa Crook VicePresident@PasadenaSocietyofArtists.org Vice President - Exhibitions: Lawrence D. Rodgers Exhibitions@PasadenaSocietyofArtists.org Recording Secretary: Rhonda Raulston Secretary@PasadenaSocietyofArtists.org Treasurer: Kathleen Swaydan Admin@PasadenaSocietyofArtists.org Director of Communications: Debbi Swanson Patrick News@PasadenaSocietyofArtists.org Director of Grants: Kruti Shah Grants@PasadenaSocietyofArtists.org Director of History & Archives: Robert Asa Crook Historian@PasadenaSocietyofArtists.org Director of Membership: Marion Dies Membership@PasadenaSocietyofArtists.org Director of Programs: Patricia Jessup-Woodlin Programs@PasadenaSocietyofArtists.org Member at Large: Art Carrillo MembersatLarge@PasadenaSocietyofArtists.org Member at Large: Liz Crimzon MembersatLarge@PasadenaSocietyofArtists.org www.PasadenaSocietyofArtists.org FB: PasadenaSocietyofArtists IG: @pasadenasocietyofartists 82
Catalog Production Team Exhibition Chair: Lawrence D. Rodgers Director of Communications: Debbi Swanson Patrick Editor: Alison Davies Treasurer: Kathleen Swaydan Technical Lead: Rhonda Raulston Instagram Content: Emily Suñez Facebook Content: George Paul Miller Webmaster: Fred Chuang Catalog Designer: Lawrence D. Rodgers Cover Design: Leah Knecht The Pasadena Society of Artists wishes to acknowledge and thank the Arcadia Sign Company for its continuing support. Artwork appears courtesy of PSA members. Copyright held by artist. All rights reserved. © 2020 Pasadena Society of Artists www.PasadenaSocietyofArtists.org
94th Annual Reception at Betsy Leuke Creative Arts Center Gallery in Burbank
93rd Annual at White’s Fine Art Gallery in Montrose
Walter Hopps reviewing artwork entered in the 44th Annual Exhibition in 1968
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Call For New Members Are you an artist? Throughout Pasadena Society of Artists’ 95-year history, works by PSA members of have been sold at major auction houses, collected in important art collections, and displayed in museums throughout the United States and Europe. Our legacy is immense! Would you like to be part of our organization? We are always looking for new, dedicated members. Our artists work in all media and styles of drawing, painting, sculpture, and photography. All have been juried into the society. New Member Screenings for the Pasadena Society of Artists are usually held twice a year, in the spring and fall. Please go to our website at www.pasadenasocietyofartists.org for more information. Because of restrictions due to the COVID-19 pandemic, the next PSA New Member Screening will be conducted via a virtual, electronic process. Submissions will be accepted between November 8 and 13, 2020. If you are interested in becoming a member, please complete a Membership Inquiry Form, found online, and contact our Director of Membership, Marion Dies. If you miss the current November 13, 2020 deadline, Ms. Dies will notify you once the next screening has been scheduled. Qualifications considered for membership include the applicant’s dedication to artistic standards of excellence, professionalism, accomplishments, skills that benefit the Society, and the artist’s future potential. Applicants submit three pieces of artwork representing current media and style, created in the past two years. Artwork submitted is judged by presentation, talent, and originality. We encourage perseverance; a number of our members have been offered memberships after having been declined multiple times. Former members include Charles White, Walter Askin, Jirayr Zorithian, Conrad Buff, David Green, Enjar Hansen, Frode Dann, Jae Carmichael, Leonard Edmondson, Mildred Lapson, Paul Sample, Hanson Puthuff, Sam Hyde Harris, and many more. 84
Pasadena Society of Artists P. O. Box 90074 Pasadena, California 91109
www.PasadenaSocietyofArtists.org Facebook: PasadenaSocietyofArtists Instagram: @pasadenasocietyofartists
