Artist’s Choice Exhibition Presented Online
June 1, 2021 to June 30, 2021
President’s Message Hello Friends, I am very excited about our latest Artist’s Choice Exhibit and hope you enjoy viewing it, as well. It is a pleasure for me to get to view the work that each creator has presented as their best work. As artists, we pour a bit of our heart and soul into each piece and I feel honored to get to witness these personal perspectives. Please enjoy, question, be challenged by, and swoon over each of these works of art. Warmly, Shaney Watters
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 Artist’s Choice Exhibition The Pasadena Society of Artists began Artist’s Choice Exhibitions in 2009, with an inaugural show which featured 110 artworks presented by 48 members. Each member was assigned ten linear feet of wall space and allowed to install as many pieces as they desired within that space. Three-dimensional artists were assigned a location in the gallery space or a certain number of pedestals. The exhibition was presented at Citibank Art Space in Silver Lake. How does an “Artist’s Choice” exhibition work, you ask? Simply put, an “Artist’s Choice” exhibition allows the artist to self-jury their artwork and select the best pieces created within a certain time period. This type of exhibition opportunity has proven to be very popular with the membership since all entered artwork is accepted. Over the years, PSA’s Artist’s Choice Exhibitions have been presented in a variety of other venues including The Women’s City Club of Pasadena, Whites Fine Art Gallery in Montrose, the Betsy Lueke Creative Arts Center in Burbank, Keystone Gallery in Los Angeles, and the Pasadena Central Library in Pasadena. The 2021 Artist’s Choice Exhibition carries on this tradition. It is the eighth in the series and the first to be presented exclusively online for a worldwide audience. Although the 2021 ACE presents artwork created before, during and after the pandemic, it is not limited to that time period or suggested theme. Thirty-two members are presenting 104 artworks, many never seen in public until now. This is truly a diverse exhibition in subject matter, media and approach. Enjoy your journey through the artwork. This Artist’s Choice exhibition will also be available for purchase in a full color publication. Visit www.PasadenaSocietyofArtists.org for the direct link to order from Blurb.
1
Table of Contents
Directory of Artists
President’s Message & ACE History 1 Table of Contents & Directory of Artists 2 Mariko Bird 3 Fred Chuang 7 Karen Daneshvari 11 Darien Donner 15 Rick Drobner 19 Maryellen Eltgroth 21 Sandy Fisher 25 Karen Hochman Brown 27 Karen M. Holgerson 29 Dorothe Horttor 33 Debbi Swanson Patrick 36 Marvin Jackson 37 Jeffry Jensen 41 Leah Knecht 45 Janet Manalo 48 Nora Koerber 49 Sonali Kolhatkar 53 Joanna Kos 57 Rosina Maize 59 Kevin McCants 63 George Paul Miller 67 Tom Oldfield 71 Victor Picou 73 Rebecca H. Pollack 77 Margaret Raab 81 Rhonda Raulston 83 David Sikes 87 Daniela Soberman 89 Emily Suñez 93 Tsvetelina Valkov 95 Ken Weintrub 99 Gayle Westrate 103 Contact the Artist 105 PSA Board of Directors 2021-2022 107 Catalog Production Team 108 Call for New Members 109
Mariko Bird 3 Fred Chuang 7 Karen Daneshvari 11 Darien Donner 15 Rick Drobner 19 Maryellen Eltgroth 21 Sandy Fisher 25 Karen Hochman Brown 27 Karen M. Holgerson 29 Dorothe Horrtor 33 Marvin Jackson 37 Jeffry Jensen 41 Leah Knecht 45 Nora Koerber 49 Sonali Kolhatkar 53 Joanna Kos 57 Rosina Maize 59 Janet Manalo 48 Kevin McCants 63 George Paul Miller 67 Tom Oldfield 71 Victor Picou 73 Rebecca H. Pollack 77 Margaret Raab 81 Rhonda Raulston 83 David Sikes 87 Daniela Soberman 89 Emily Suñez 93 Debbi Swanson Patrick 36 Tsvetelina Valkov 95 Ken Weintrub 99 Gayle Westrate 103
Artists represented on the cover: Top right: Nora Koerber Clockwise from top left: Rick Drobner, Margaret Raab, Kevin McCants, Joanna Kos, George Paul Miller, Marvin Jackson, Daniela Soberman, Janet Manalo Artwork appears courtesy of PSA members. Copyrights held by the artists. All rights reserved.
2
Dancing Lights Mariko Bird
Stoneware Clay 7" x 6" x 6" $270 This is one of a luminaria series I started years ago, inspired by the tradition of Latino Christmas lights. A thin slab of clay is made into a cylinder, and patterns are cut out using a sharp knife. The pattern and shapes of the cut-outs can vary. For this one I wanted to make the light splash and dance when lit with a candle. It has a clear crackle glaze and was raku fired.
3
Contact information for this artist can be found on page 105.
Slides Lamp Mariko Bird
Stoneware Clay, 35mm Slides, and Douglas Fir Wood 15" x 6" x 6" $390 I received over 300 slides of Japanese art as a gift from Meher McArthur, a Japanese art historian, after she converted them into digital form. I wanted to come up with a way to show their beauty by somehow incorporating them into my clay art. The wooden base was made by another friend of mine, Skip Korsgaard. So this lamp is the result of a three-person collaboration.
Contact information for this artist can be found on page 105.
4
Raku Bottle Mariko Bird
Stoneware Clay and Raku Glazes 12" x 4.5" x 4.5" $230 Faceted forms have always intrigued me. The varied angle of each face reflects light and creates shadows as the viewer moves around it. With this bottle, I used lustrous metallic raku glazes in order to make the effects of light and shadows more pronounced. It is not suitable for use with liquid inside.
5
Contact information for this artist can be found on page 105.
Acanthus Vase Mariko Bird
High-Fire Stoneware Clay 9" x 7" x 7" NFS For years I have been fascinated by the stylization of acanthus leaves by the Greeks. Their decorative use of acanthus leaves on Corinthian-style columns and elsewhere on classical buildings is magnificent. It seems to take me back to ancient times, when the Greeks admired the beauty and stateliness of this elegant plant. This vase is my attempt to translate that fascination onto the surface of clay. An ode to ancient Greece, perhaps? Hand-built and decorated with acanthus leaves using the sgraffito technique. With black engobe, clear glaze and fired to Cone 10. Contact information for this artist can be found on page 105
6
Field of Engagement Fred Chuang
Mixed Media: Spray Paint seen through thin, clear panel and Acrylic Medium on Canvas, Interwoven with aluminum wire 35" x 28" $3500
This piece was made in collaboration with another artist who works on canvas. Using two deconstructed works, one by each of us, I wove strips together with an aluminum wire grid composed of a single, continuous strand. The textures and color complement and contrast to create textural and chromatic intrigue.
7
Contact information for this artist can be found on page 105.
Fleur de Mer Fred Chuang
Mixed Media: Porcelain, Glaze, Dyed Coral, Cultured Pearl, Quartz 6" x 5" x 4" $500
A paper wasp nest is transformed by porcelain paper slip, reduction glaze, and heat into the base for this ceramic and dyed coral, quartz crystals, and cultured pearl constructed metaphor.
Contact information for this artist can be found on page 105.
8
Remains of the Day Fred Chuang
Mixed Media: Spray Paint seen through thin, clear panel (PETG) 15" x 15" (framed larger) $600
I paint primarily with spray paint on the back of a paper-thin, clear panel--there is no canvas or board except that used to mount and frame the finished artwork. The clear material works as both my canvas and as a functional “glaze.” Using resists, both deliberate (masks) and organic (water and/or yogurt), and solvents, I layer color by color, typically starting with backgrounds, and finishing with foreground details. Thus, unlike typical “reverse” painting, my creative arc parallels that of conventional painting. The textured surface is created by misting the surface of the finished painting with water and sandwiching it between glass plates and heating. The thermal plastic material conforms organically to the resulting pockets of steam. This painting was the beginning of my exploration of wildfire on the California landscape.
9
Contact information for this artist can be found on page 105.
Through Fred Chuang
Mixed Media: Spray Paint and Metallic Pigment seen through thin, clear panel (PETG) 36" x 54" (framed larger) $5500 I paint primarily with spray paint on the back of a paper-thin, clear panel--there is no canvas or board except that used to mount and frame the finished artwork. The clear material works as both my canvas and as a functional “glaze.” Using resists, both deliberate (masks) and organic (water and/or yogurt), and solvents, I layer color by color, typically starting with backgrounds, and finishing with foreground details. Thus, unlike typical “reverse” painting, my creative arc parallels that of conventional painting. The textured surface is created by misting the surface of the finished painting with water and sandwiching it between glass plates and heating. The thermal plastic material conforms organically to the resulting pockets of steam. This painting represents my body of work I call “Klimt meets Gauguin” or “Ornate Fauvism.” In this case, the transformed surface abstractly suggests the movement of air with the glinting of reflected light.
Contact information for this artist can be found on page 105.
10
Joyful Morning Karen Daneshvari
Low-fire Clay, Underglaze, Clear and Colored Glazes 5.5" x 4.5" x 4.5" $30 During this year I came to realize that we are all responsible for creating our own joy. Starting the day with goofy birds, butterflies, and streaming sunshine and holding a favorite beverage seems sure to lift our mood.
11
Contact information for this artist can be found on page 105.
Crazy Chicken With Sunflowers Karen Daneshvari
Low-fire Clay, Underglaze, Clear and Colored Glazes Approximately 4" x 12" x 12" $50 This design, hand painted with underglaze, always makes me smile, which made it a favorite to create during such a turbulent year. It is food safe and decorative.
Contact information for this artist can be found on page 105.
12
Waterfall Karen Daneshvari
Low-fire Clay and Glazes 5.5" x 12" x 12" $50 During the pandemic, canyon hikes never failed to lift my spirits and inspire creativity. The exterior glaze of this bowl contains crystals which create random patterns emulating nature. It is food safe and decorative.
13
Contact information for this artist can be found on page 105.
Llama Herd Karen Daneshvari
Low-fire Clay, Underglaze, Imprints, Clear and Colored Glazes Approximately 4.5" - 5.5" x 3.5" x 3.5" $25 each In a time of racial strife I wanted to create a group of South American llamas with handwoven blankets on tumblers. Each is surrounded by the beauty and harmony of a wide spectrum of colors.
Contact information for this artist can be found on page 105.
14
Always Darien Donner
Black and White Ink, Collage 9" x 12" $204 From the series “Lines in the Universe: Samsara Words.” While isolating during the pandemic, I noticed some words that I use automatically. These words seem to define a black and white world. When I use these words I feel my body stiffening, pushing away deep feelings that want to come up. When I use the word “always” I assume that circumstances last forever. I pretend that, by willing and hoping, things will stay unchanged. This is an immediate departure from the here and now into endless mental conjectures.
15
Contact information for this artist can be found on page 105.
Never Darien Donner
Black and White Ink, Collage 9" x 12" $204 From the series “Lines in the Universe: Samsara Words.” While isolating during the pandemic, I noticed some words that I use automatically. These words seem to define a black and white world. When I use these words I feel my body stiffening, pushing away deep feelings that want to come up. I use “never” when I don’t want a certain outcome to happen. In fear, I am building a box around me, hoping to keep anything unwanted out and to keep all the “wanted” in. Good luck with that! Contact information for this artist can be found on page 105.
16
Sometime Darien Donner
Black and White Ink, Collage 9" x 12" $204 From the series “Lines in the Universe: Samsara Words.” While isolating during the pandemic, I noticed some words that I use automatically. These words seem to define a black and white world. When I use these words I feel my body stiffening, pushing away deep feelings that want to come up. I use “sometime” when I don’t want to be pinned down. I want to leave things vague and uncertain. By using “sometime” I have the illusion that I can postpone unwanted feelings.
17
Contact information for this artist can be found on page 105.
Should Darien Donner
Black and White Ink, Collage 9" x 12" $204 From the series “Lines in the Universe: Samsara Words.” While isolating during the pandemic, I noticed some words that I use automatically. These words seem to define a black and white world. When I use these words I feel my body stiffening, pushing away deep feelings that want to come up. “Should” is one of those words that pops up constantly in my head, especially at the end of the day: “All the things I should have done and didn’t do.” “Should” is mostly a message to myself that I am a broken being that has to be fixed constantly. A message that is not true. Contact information for this artist can be found on page 105.
18
2020 Rick Drobner
Acrylic on Canvas 36" x 36" $1500 This painting hopefully will be the final punctuation mark on the paragraph that was 2020. Fear and trepidation, a deadly virus, loneliness and isolation, and inadequate information defined the year. Being of an age of concern and with underlying health issues, I am thrilled that my wife and I emerged unscathed. We are now vaccinated and see a brighter day coming.
19
Contact information for this artist can be found on page 105.
It’s Up There! Rick Drobner
Acrylic on Canvas 36" x 36" $1500 After emerging from the depressing year 2020, I made this piece in celebration of the new year. My palette is decidedly bright and optimistic. The voice of yellows and oranges represents the joy of a new day and new beginnings. This painting was a reentry to non-objective art for me. I admit that avoiding recognizable images has proven to be difficult. I invite the viewer to participate in the imagination.
Contact information for this artist can be found on page 105.
20
Into COVID Lockdown Maryellen Eltgroth
Archival Ink Print 20" x 13.3" NFS At first the staggered stairway shifted precariously under my unplanned weight. Then I discovered a secret to surfing concrete blocks – balance - or the art of teetering.
21
Contact information for this artist can be found on page 105.
Forget-Me-Not Maryellen Eltgroth
Archival Ink Print 13.9" x 20" NFS Planting seeds to delight in their fruition filled a need for constancy. Time grew longer and deeper. Those of us who endure will remember companions now gone.
Contact information for this artist can be found on page 105.
22
Imperial Purple Maryellen Eltgroth
Archival Ink Print 14.3" x 20" NFS Back down at ground level I encountered alien earthlings in my barbarous backyard. I warned this yellow fellow about foolishly exposing himself against imperialist purple.
23
Contact information for this artist can be found on page 105.
Receding Red Maryellen Eltgroth
Archival Ink Print 13.3" x 20" NFS As nighttime darkness intensified in the absence of traffic, I rediscovered the sky and imagined ancient star trails against the speeding outer edges of our firmament.
Contact information for this artist can be found on page 105.
24
Fall’s Promise Sandy Fisher
Oil on Linen Panel 8" x 10" $400
During October 2020, I needed a road trip and some time out in nature to lift my spirits, so my husband and I drove to Bishop, where I love to paint and he loves to mountain bike. I woke up early one morning to drive him to the starting point of his ride and spotted this lovely view of cottonwoods starting to show their fall colors set against the backdrop of the White Mountains still in shade. There was not another soul around and I felt blessed to be able to immerse myself in the beauty.
25
Contact information for this artist can be found on page 105.
Peace in the Canyon Sandy Fisher
Oil on Linen Panel 8" x 10" $400 There is nothing like painting from nature, where the eye is able to differentiate all the lovely colors in a scene. There is such subtlety and nuance and it is one of the reasons I love to paint en plein air. One of my favorite places to go is Placerita Canyon, which I visited often during the pandemic. This view was from a spot on the trail and it filled me with a feeling of calm and the assurance things would one day return to normal.
Contact information for this artist can be found on page 105.
26
Sunset in Tel Aviv With Orchid Karen Hochman Brown
Digital Print on Acrylic Panel 60" x 40" $4800 In my travels, I use my camera to document the beautiful and glorious aspects of Mother Nature. In my latest collection, these images are the basis for my digital exploration into a place beyond words. The worlds I represent in these works are a marriage of the expansiveness of the sky to the delicate intimacy of flowers. When the realities of “sheltering in place” sank in, I began traveling through memories of other times and places via my photographic archives. The cloud imagery comes from around the globe, from the sea to the mountain top. The flowers are from gardens closer to home. I mold the images with specialized software to create many-layered digital collages.
27
Contact information for this artist can be found on page 105.
Twilight in Ojai With Magnolia Karen Hochman Brown
Digital Print on Acrylic Panel 60" x 40" $4800 Unplug. Come with me to a place with no chatter. Join me in the clouds. This has been, to put it mildly, a challenging year. So let me take you to a place of boundless imagination, where the expansiveness of the sky is married to the delicate intimacy of flowers. I invite you to explore in a place beyond words, to pause for a bit and rest in the details.
Contact information for this artist can be found on page 105.
28
Floral Flurry Karen M. Holgerson
Fabric Collage 12" x 12" $500 I love flowers and plants -- my own garden is inspirational, as are gardens like the Huntington and Descanso. I also draw on childhood memories of the Midwest: lilies of the valley, daffodils, lilacs, bleeding hearts, poppies, and chrysanthemums. In this case, I sat in my garden in the morning sunlight and started with fabrics that reminded me of some of these flowers. Then I created a purple structure to “plant” a garden of imaginary flowers on top of that Midwestern garden background. “Floral Flurry” is the result!
29
Contact information for this artist can be found on page 105.
Imaginary Desert Karen M. Holgerson
Fabric Collage 9" x 12" $450 Desert landscapes are interesting due to the changing colors and shapes as the sun shifts from morning to evening. They feed my imagination. How or why I create such fabric desert landscapes is always an adventure. Studying the patterns and colors of the fabrics I have in my collection, I begin to cut and assemble the pieces I need. Mine is basically an intuitive process, and each desert “painting” is unique.
Contact information for this artist can be found on page 105.
30
Deep in the Forest Karen M. Holgerson
Fabric Collage 12" x 12" $500 Sometimes the California sun is too bright for me, and I begin to crave something dark and mysterious. When I decide on a theme, such as a dark forest landscape, I begin to assemble the pieces by color and shape. Often I have to go back to the fabric samples and cut out new pieces as needed. It is an intuitive process, and I can never predict the result!
31
Contact information for this artist can be found on page 105.
A Country Walk Karen M. Holgerson
Fabric Collage 19" x 25" $875 Taking a walk in the country away from the noise and clutter of the city is always a delight. I currently enjoy “painting” such landscapes with fabric. When I decide on a theme, in this case, a walk in the country, I begin to assemble fabric pieces by color and shape. Mine is basically an intuitive process, and I am usually pleasantly surprised at the result!
Contact information for this artist can be found on page 105.
32
Garden of Eden Dorothe Horttor
Watercolor and Ink 7.75" x 9.75" $200 I do not think a lot when I am doing my art work. Generally, I produce the work and then think about what prompted it. In this case, I had quite a painful education during the last four years learning that many of our United States government officials no longer see their efforts as contributions to the common good. Instead, public service is too many times an opportunity to steal from the common people. This picture is the Garden of Eden that, with its lushness and richness, represents the goodness and beauty of our country before it was destroyed by greed and evil.
33
Contact information for this artist can be found on page 105.
America This is Quite Serious Dorothe Horttor
Watercolor and Ink 8.5" x 5.5" $200 “America This is Quite Serious” got her name from “America” by Allen Ginsberg, written in 1956. In the poem Ginsberg rants about the situation in the United States in 1956: the underprivileged, machinery, constant murder trials, loss of natural resources: “America this is serious does not rant.”
Contact information for this artist can be found on page 105.
34
Untitled Dorothe Horttor
Watercolor and Ink 9.75" x 7.75" $200 Because of the unceasing anxiety caused by recent political and biological events I have trouble sleeping. I lie there visually experiencing unrelated, granulated and intricate bits of stuff. It seems as if I am seeing my brain with no glue.
35
Contact information for this artist can be found on page 105.
Hot & Wild Debbi Swanson Patrick
Digital Still Life 20" x 16" $450 Hot are the colors, wild are the creatures. After a year of darkness and much sadness and introspection, spring has been especially welcome. So in honor of those we have lost, represented by the tender hummingbird, we celebrate life in all its forms.
Contact information for this artist can be found on page 106.
36
What Should I Try Next Marvin Jackson
Oil on Linen 40" x 30" $750 One of my favorite subjects is the coast/beach; it could be any coast or beach. There is so much that goes on and so much beauty on our Southern California coast. One day, shortly before the lock-downs, I decided to go to the beach to see if I could find someone building a sand sculpture. Instead, I was fascinated with these skateboarders. I took a picture of a boy who seemed like he was deciding what trick to do next.
37
Contact information for this artist can be found on page 105.
Masked Up Marvin Jackson
Oil on Linen 48" x 36" $1000 This painting was started during the COVID-19 pandemic shortly before the beaches were closed. When the painting was almost finished, I went to the city of Manhattan Beach one day and everyone walking around wore face masks – under fear of a fine! When I started working on the painting again, I thought about my experience in Manhattan Beach and added masks on the faces of the two women.
Contact information for this artist can be found on page 105.
38
Queen Kong Marvin Jackson
Oil on Linen 18" x 24" $250 One of my favorite subjects is the gorilla. As a child I would draw big pictures of King Kong on the dirt in the backyard. The original “King Kong” is my all-time favorite movie. I don’t watch the end of the movie because he gets killed and I’m an animal lover as well as a nature lover. The intent here was to create a less intimidating, yet attractive, gorilla.
39
Contact information for this artist can be found on page 105.
Spanish Tile Marvin Jackson
Oil on Linen 24" x 30" $500 I was first inspired to paint a house with Spanish tile because I like the way the Spanish tile looks on my neighbor’s house across the street. However, I wanted to paint a yellow house; his is beige. I’d painted a picture of an old green house many years ago while visiting San Francisco and I’d wanted to do something similar, only yellow with Spanish tile. I searched the internet, but couldn’t find anything. I drove around and took pictures. This was a frustrating process in many ways. One way it was frustrating is that I painted it on store-bought, already stretched cotton duck as a rough oil painting sketch, then I got serious. I couldn’t do on the cotton duck what I could do on linen that had been oil-primed four times. I may paint it again in the future on linen. Contact information for this artist can be found on page 105.
40
Everything in Its Place Jeffry Jensen
Digital Photograph 14" x 14" $225 “Everything in Its Place” presents a giant pile of wood chips in such a way as to make you believe that there is a purpose to the arrangement of these chips, that it is not a random gathering. I hope that this idea will entice the viewer to approach the image with an open mind and an open imagination.
41
Contact information for this artist can be found on page 105.
Layering It On Jeffry Jensen
Digital Photograph 11" x 14" $150 “Layering It On” presents stone blocks stacked together in order to make a new world for themselves, for the whole. I hope that this new arrangement will entice the viewer to approach the image with an open mind and an open imagination.
Contact information for this artist can be found on page 105.
42
Growing a Glow Jeffry Jensen
Digital Photograph 14" x 11" $150 “Growing a Glow” presents trees, mountains, and sky in a way that shows how they have conspired together in order to have an expanding glow. I hope that the “glow” will entice the viewer to approach the image with an open mind and an open imagination.
43
Contact information for this artist can be found on page 105.
Overflow Jeffry Jensen
Digital Photograph 11" x 14" $150 “Overflow” shows how plant life can take over an area and spill all over everything in order to take control of its world. I hope that this “overflow” will entice the viewer to approach the image with an open mind and an open imagination.
Contact information for this artist can be found on page 105.
44
Model Minority Leah Knecht
Kitchen Drawer, Transparency, Found Objects 17" x 13.5" x 3" $800 “Model Minority” explores this stereotype of Asians, and includes a Buddha figurine that had lost its face, replaced by my grandfather’s image and partially masked by a Smiley face. We were always told to smile and not make waves, yet this just perpetuates the burden of this stereotype. A model train is upended on top, as a nod to all the Chinese immigrants who helped build our railroad system.
45
Contact information for this artist can be found on page 105.
Target Demographic Leah Knecht
Kitchen Drawer, Transparency, Found Objects 19" x 13.5" x 4" $800 “Target Demographic” has a found comic of a gang with pistols shouting, “Get them,” and a shooting target, partially covered by practice calligraphy, with my grandfather in the top layer, projecting calm and resolve.
Contact information for this artist can be found on page 105.
46
Dragon Lady Leah Knecht
Kitchen Drawer, Transparency, Found Objects 18.5" x 13.5" x 4" $800 My recent works speak to the hate crimes committed against the Asian American and Pacific Islander (AAPI) community and, using my grandparents as surrogates, they prevail against the haters. In “Dragon Lady” there is a found comic of a blonde woman shooting a rifle, with the caption “Boom,” but she is behind bars made of chopsticks, with my grandmother in an upper layer of resin, partially obscuring her as well. “Dragon lady” is sometimes used as a pejorative, but it is a symbol of strength in this work. I dissected a folk-art dragon puppet I brought home from Japan, and it sits atop the work like a protective gargoyle.
47
Contact information for this artist can be found on page 105.
Mask-or-Aid Janet Manalo
Altered Book, Assemblage 16" x 18" $800 Seneca the Younger, a Roman philosopher (4 BCE – 65 CE), said, “No one can long hide behind a mask; the pretense soon lapses into the true character.” This artwork explores the duality of personalities. Wearing a mask during the COVID-19 pandemic took on another meaning.
Contact information for this artist can be found on page 106.
48
Gloria Nora Koerber
Oil on Panel 8" x 8" $450 This painting’s name comes from the oversized, glorious palm that, to me, is a metaphor of craving a sense of luxury, opulence, and beauty, regardless of one’s life circumstances. The home was a bit messier than I depicted, but I thought the one board laid against the front of the house said it.
49
Contact information for this artist can be found on page 105.
Morning Wash Nora Koerber
Oil on Panel 9" x 12" NFS This is a painting of weeds and rocks in the Tujunga Wash seen in early morning. I tweaked my photograph in Photoshop until I found a direction I liked for a painting. I wanted to paint this relatively high key and push the color a bit to enhance a feeling of how sunshine may wash upon a soul when one is in the desert in the early morning. I sold this recently to a gentleman who frequents this area and knew just what I was after.
Contact information for this artist can be found on page 105.
50
Pandemic Procession (It Might as Well Be Spring) Nora Koerber Oil on Panel 11" x 17" $950
While masked and taking photographs at Descanso Gardens in the pandemic summer of 2020, I spied a few young ladies skipping along the pergola in single file. I realized this was most likely a tradition of bridesmaids. I found some information online about bridesmaids “hiding the bride,” which fit. They were masked. I enjoyed not following the dictates of perspective to enhance a sense of fantasy or enchantment, alongside amping color and flora. A feeling of glee, despite the times, inspired the title.
51
Contact information for this artist can be found on page 105.
Seashore Serenity Nora Koerber
Oil on Panel 8" x 8" NFS This image is from a shot I took in Laguna, California. I just enjoyed the look of this calm, but spirited, creature ambling on his way, just doing his thing. It was submitted to the Laguna Plein Air Painters Association’s ‘8" Squared’ show auction and sold.
Contact information for this artist can be found on page 105.
52
Respect the Crow Sonali Kolhatkar
Acrylic on Canvas 16" x 20" $525 Crows are intelligent and curious. They are also scavengers and, therefore, an underappreciated link in the cycle of life. In spite of the human view associating these creatures with death, crows move with confidence through our world, not seeking our approval, but deserving our respect.
53
Contact information for this artist can be found on page 105.
Fence Sitters Sonali Kolhatkar
Acrylic on Canvas 16" x 20" $525 In some cultures, black crows or ravens portend death. The COVID-19 pandemic has brought deaths on a mass scale, yet those of us who have survived have learned new ways of being, some of which may stay with us beyond this time. We must look back on what worked and look forward to what’s next, all at the same time.
Contact information for this artist can be found on page 105.
54
Not Our World Sonali Kolhatkar
Acrylic on Canvas 16" x 20" $525 If there is one thing we are learning as disease and climate change overwhelm us, it is that humanity is fragile and remains subservient to nature. Our species may believe we are in control, but that is an ephemeral fantasy.
55
Contact information for this artist can be found on page 105.
Plague Mask Sonali Kolhatkar
Acrylic on Canvas 20" x 16" $615 Seventeenth-century physicians wore terrifying looking beak masks filled with aromatic herbs to ward off infectious diseases like the Black Death. During today’s COVID-19 pandemic, far too many among us have succumbed to quack remedies and conspiracy theories instead of making rational decisions based on scientific research. A plague mask, like much conspiracy-laden fear mongering, is more about the performance of concern rather than real safety.
Contact information for this artist can be found on page 105.
56
Haunted Harbor Joanna Kos
Oil on Canvas 24" x 30" $780 The specters of ships that have perished at sea appear in an abandoned harbor on a foggy, gloomy day. This painterly vision is a poetic metaphor blending the past with the present to uncover an intrinsic sadness accompanying human existence.
57
Contact information for this artist can be found on page 105.
Melancholy Joanna Kos
Oil on Canvas 24" x 30" $780 “Melancholy” refers to the invisible barriers that often isolate us from the real world. These impediments may be purely psychological or physical, but remain unseeable, such as those associated with a pandemic. These barriers are like glass plates – transparent, but impenetrable.
Contact information for this artist can be found on page 105.
58
Dancing Daffodils Rosina Maize
Oil on Canvas Panel 14" x 11" $475 Daffodils are the iconic image of spring, renewal and rebirth. Their shy heads nod happily in the spring breeze.
59
Contact information for this artist can be found on page 106.
Purple Iris Rosina Maize
Oil on Stretched Canvas 14" x 11" $475 These dark purple iris are the most hardy variety in my garden, blooming in the early spring. I wonder if the iris painted by Vincent Van Gogh had the same lovely fragrance as these.
Contact information for this artist can be found on page 106.
60
Sonoran Spring Rosina Maize
Oil on Stretched Canvas 24" x 30" $1150 Desert verbena bloom copiously in the Sonoran Desert after a rainy season. The desert lights up with the soft carpet of colors. The Chocolate Mountains are visible in the distance, still covered with the winter’s snow.
61
Contact information for this artist can be found on page 106.
Rising Tide Setting Sun Rosina Maize
Oil on Stretched Canvas 12" x 24" $950 This back bay of the California Central Coast is a lovely retreat. The rising tide turns the boats to face the inlet, softly moving in unison. The breeze carries the sounds of the rigging ringing like wind chimes. A truly serene moment.
Contact information for this artist can be found on page 106.
62
B. G. Punk Fishnets in Window #8 Kevin McCants Oil on Panel 49" x 24.5" $3500
From my “Bergdorf Goodman Punk Reflection” series, derived from the “Chaos to Couture” exhibit at the Metropolitan Museum. “B.G. Punk Fishnets in Window #8” examines the past freedom, ease and edge of punk fashion while reflecting modern life inside. Using thicker paint for added texture in certain areas helped create the feeling of the cloth coming forward while keeping the street scene behind soft.
63
Contact information for this artist can be found on page 106.
B. G. Punk The Jacket in Window #3 Kevin McCants Oil on Panel 49.5" x 24.5" $3500
Also from my “Bergdorf Goodman Punk Reflection” series. “B.G. Punk The Jacket in Window # 3” is focused on the textures and feel of the Punk scene. I created the leather, studs, Doc Martens and chains using glazing.
Contact information for this artist can be found on page 106.
64
Man Shell in Window #9 Kevin McCants
Oil on Panel 49" x 24.5" $3500 “Man Shell in Window #9” is from my “Humanity Interrupted” series. It is another take on the self portrait and examines what one sees inside, reflecting what one sees outside, and the shell that is left. This painting was created using washes.
65
Contact information for this artist can be found on page 106.
Painter, Watching Painter, Watching Paint Dry Kevin McCants Oil on Panel 49" x 24.5" $3500
“Painter, Watching Painter, Watching Paint Dry,” also from my “Humanity Interrupted” series, was created using glazes and washes. Inspired by Norman Rockwell, it is my second twist on the self portrait. I overexaggerated the foreshortened foot to pull the viewer up into the glazed face.
Contact information for this artist can be found on page 106.
66
Ascension de Luna George Paul Miller
Oil on Canvas 24" x 18" $1600 Inspired by the calming soft touch of moonlight rising above apprehension.
67
Contact information for this artist can be found on page 106.
Sunday 2020 George Paul Miller
Charcoal and Chalk on Toned Paper 12" x 9" $495 A drawing for a Sunday in 2020. Drawn with charcoal and chalk on toned paper.
Contact information for this artist can be found on page 106.
68
Social Distancing George Paul Miller
Graphite, Charcoal and Chalk on Toned Paper 12" x 9" $495 A little drawing with my standard #2 pencil, a little charcoal and a bit of chalk on toned paper.
69
Contact information for this artist can be found on page 106.
2020 George Paul Miller
Oil on Canvas 20" x 20" $2020 When I painted this in December 2019/February 2020 I didn’t have a title for it. I really didn’t think it would be foretelling the year to come. But by the time it was finished it was obviously 2020.
Contact information for this artist can be found on page 106.
70
Wonder! Tom Oldfield
Archival Inkjet Print 16" x 20" NFS My photography is an escape from everyday reality. I am fascinated with 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. Most of my work is in black and white with traditional film in a large format camera. But I can be flexible . . .
71
Contact information for this artist can be found on page 106.
Puget Sound From Mount Erie Tom Oldfield
Archival Inkjet Print 20" x 16" NFS My photography is an escape from everyday reality. I am fascinated with 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. Most 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. The view of Puget Sound from atop Mount Erie is amazing. Except when it isn’t a view of the sound. But the fog and the light made the trip worthwhile and the image likely better than what I had planned.
Contact information for this artist can be found on page 106.
72
Emerging Victor Picou
Wax Pencil on Paper 14" x 12.5" in frame $450 Evolution of species, emerging light in the morning, fading light at sunset, the sudden brilliance of a rainbow, and the brightness of a happy face -- are just some of my favorite things. The development of “Emerging” was a very quick sketch, like a strike of lightning, followed by many hours of penciling color, resulting in subtle images of fish and fowl with evolving facial features.
73
Contact information for this artist can be found on page 106.
Ascending Victor Picou
Wax Pencil on Paper 16" x 12.5" in frame $450 During the COVID-19 pandemic, there was a constant focus on disease and uncertainty: life and death issues that seemed to influence my drawings, sculptures and paintings. I maintained a sense of hope, a trust in survival and purpose. “Ascending” represents this state of mind.
Contact information for this artist can be found on page 106.
74
Silhouette & Shadows Victor Picou
Wax Pencil on Paper 19" x 15.5" in frame $450 I embellished my original life model charcoal sketch with color penciling. I enjoy creating compositions with multiple images of the same pose. My enjoyment of applying color led to countless hours of “post production,” giving the form(s) more life than in the charcoal original.
75
Contact information for this artist can be found on page 106.
Citrus Light Victor Picou
Wax Pencil on Paper 18" x 12.5" in frame $450 “Citrus Light” came to life during the stressful summer days of the COVID-19 pandemic. Art really kept me grounded, and the use of color helped me keep the faith in survival. This was originally an old sketch that I revisited with many hours of penciling. The smell of a fresh-cut lemon or orange, the delicious sweet fruit juices, and trees dotted with yellow and orange influenced the use of bright colors.
Contact information for this artist can be found on page 106.
76
Patterns: Four Up Rebecca H. Pollack
Etching 14" x 11" $300 “Patterns: Four Up” is from an ongoing series of zinc plate etchings. Each print represents a pattern found in nature. I photograph, draw, design my metal plate, go through all the steps needed to complete the etching, and then print my final product on the etching press. This artwork was inspired by color and a combination of forms. The “swirl” image is made with a technique called sugar lift. The oak leaf image is made with soft ground and salt. Lastly, the stone pattern image is drawn with an etching needle on hard ground. Each pattern requires different steps before being inked and printed on the etching press.
77
Contact information for this artist can be found on page 106.
Pattern: Stone Rebecca H. Pollack
Etching 11" x 14" $200 “Pattern: Stone” is from an ongoing series of zinc plate etchings. Each print represents a pattern found in nature. I photograph, draw, design my metal plate, go through all the steps needed to complete the etching, and then print my final product on the etching press. This image was inspired by sketches I made of the mineral nuances on a stone found on a hike.
Contact information for this artist can be found on page 106.
78
Pattern: Weeds in Red Rebecca H. Pollack Etching 9" x 12" $200
This image is from an ongoing series of zinc plate etchings. Each print represents a pattern found in nature. I photograph, draw, design my metal plate, go through all the steps needed to complete the etching, and then print my final product on the etching press. “Pattern: Weeds in Red” was inspired by weeds growing in the backyard of a house in Berkeley.
79
Contact information for this artist can be found on page 106.
Pattern: Wood Rebecca H. Pollack
Etching 11" x 15" $300 This image is from an ongoing series of zinc plate etchings. Each print represents a pattern found in nature. I photograph, draw, design my metal plate, go through all the steps needed to complete the etching, and then print my final product on the etching press. “Pattern: Wood” was inspired by a cylinder of unusual wood that a friend found during their travels.
Contact information for this artist can be found on page 106.
80
Ablaze Margaret Raab
Oil on Board 14" x 11" $875 “Ablaze” is one of a series of works completed in 2019 and 2020 with a focus on nature. I was drawn to the aloe plant because of its strength. This plant emits strength through the bright color, the strong vertical stance of the flower, as well as the volume and movement created by the leaves, thereby commanding attention from the viewer. These were all qualities I wanted to capture in my painting. As a realistic oil painter, close observation and attention to detail are important. In choosing the plants for this series I chose ones that would either stand alone or as a grouping would allow you to see the unique beauty within each flower. The close-up view provides the opportunity for me to focus on often overlooked details that contribute to the visual experience.
81
Contact information for this artist can be found on page 106.
Haughty Margaret Raab
Oil on Board 14" x 11" $875 “Haughty” is one of a series of works completed in 2019 and 2020 with a focus on nature. As a realistic oil painter, close observation and attention to detail are important. In choosing the plant for this painting I chose one that would stand alone. Working with a single plant the composition becomes very important. I examine it through the lens of a still life painter. The unique shapes of the flower and the subtle variations of color in the flower placed within the meandering foliage of the plant tend to suggest qualities of personality. Capturing the personality of this plant was an important element of this painting. Contact information for this artist can be found on page 106.
82
The Year of Uncertainty: Spring Rhonda Raulston
Oil and Cold Wax on 140# Watercolor Paper 9" x 12" $175 A year unmoored: few familiar waypoints to help navigate the vague sameness of quarantine. A year of hiatus: milestones and traditions postponed or missed altogether. A year of uncertainty: health, work, finances. A year of grounding: quiet pleasures and timid hope. A year marked only by the slightly changing seasons. I chose to paint the changing seasons as a series of abstracts but, in fact, they really are realistic representations of my emotional state and response throughout the past unrealistic year. This is “The Year of Uncertainty: Spring.”
83
Contact information for this artist can be found on page 106.
The Year of Grief: Autumn Rhonda Raulston
Oil and Cold Wax on 140# Watercolor Paper 9" x 12" $175 A year unmoored: few familiar waypoints to help navigate the vague sameness of quarantine. A year of hiatus: milestones and traditions postponed or missed altogether. A year of uncertainty: health, work, finances. A year of grounding: quiet pleasures and timid hope. A year marked only by the slightly changing seasons. I chose to paint the changing seasons as a series of abstracts but, in fact, they really are realistic representations of my emotional state and response throughout the past unrealistic year. This is “The Year of Grief: Autumn.” Contact information for this artist can be found on page 106.
84
The Year of Longing: Summer Rhonda Raulston
Oil and Cold Wax on 140# Watercolor Paper 9" x 12" $175 A year unmoored: few familiar waypoints to help navigate the vague sameness of quarantine. A year of hiatus: milestones and traditions postponed or missed altogether. A year of uncertainty: health, work, finances. A year of grounding: quiet pleasures and timid hope. A year marked only by the slightly changing seasons. I chose to paint the changing seasons as a series of abstracts but, in fact, they really are realistic representations of my emotional state and response throughout the past unrealistic year. This is “The Year of Longing: Summer.”
85
Contact information for this artist can be found on page 106.
The North Sea of My Heart Rhonda Raulston
Oil and Cold Wax on 140# Watercolor Paper 9" x 12" $175 Don’t we all die someday and someday comes all too soon? What will you do with your own wild, glorious chance at this thing we call life. — Mary Oliver
Contact information for this artist can be found on page 106.
86
LA Spring Peacock Too! David Sikes
Oil on Luan Veneer 36" x 24" $400 “LA Spring Peacock Too!” is based on a photoshoot at Los Angeles County Arboretum in May 2020. Being sequestered at home did have some advantages by keeping me safe, sane, and occupied.
87
Contact information for this artist can be found on page 106.
Resturant La Gare, Paris - June 2019 David Sikes Oil on Luan Veneer 24" x 36" $500
“Restaurant La Gare, Paris - June 2019” is based on a photograph taken while there. The restaurant, in a converted train station, was visually spectacular, very popular, and provided wonderful food. We had planned to return in 2020, but certain events transpired.
Contact information for this artist can be found on page 106.
88
Child Playing 2 Daniela Soberman
Ceramic 25" x 11" x 4" NFS Part of the “Family of Three” Series. When I create a series, it happens serendipitously. The pieces in the series are hand-formed and hand-textured stoneware finished with a matte white engobe.
89
Contact information for this artist can be found on page 106.
Mother and Child 3 Daniela Soberman
Ceramic 20" x 26" x 7" NFS Part of the “Family of Three” Series. In continuing with my focus on the family form, I’ve further abstracted the shapes of mother and child, playing child and parental figures into heavier, weightier forms with increased surface texture. I continue to focus on sculptural shapes and surfaces.
Contact information for this artist can be found on page 106.
90
Parents Daniela Soberman
Ceramic 20" x 33" x 17" NFS Part of the “Family of Three” Series. In my process, I do not set out to make specific forms, but rather I set out with the inkling of an idea and then see what the clay wants to become through quick and expressive manipulation. Each form is created instinctively and spontaneously. In this series, the clay wanted to be transformed into an abstracted family.
91
Contact information for this artist can be found on page 106.
Family Vessel Daniela Soberman
Ceramic 16" x 15" x 3" NFS Part of the “Family of Three” Series. The “vessel” form is a tongue-in-cheek response to people who have suggested that functional vessel forms should eclipse sculptural forms when shaping clay.
Contact information for this artist can be found on page 106.
92
Golden Desert Glow Emily Suñez
Oil on Wood Panel 8" x 10" NFS Working primarily in oils, I paint desert landscapes and plants, and I draw my inspiration from frequent trips to Joshua Tree National Park. I take lots of reference photographs in desert locations, but have recently begun painting largely from memory. My most recent work is about my own spiritual connection to nature and celestial bodies. My paintings pay homage to moments that evoked for me a deep sense of connection to the natural world. Through the pandemic, I’ve longed for a sense of connection – but when social connections have been challenged by social distancing, I’ve turned to nature for comfort and connection. I hope the viewer of my painting feels a sense of being grounded, at peace, and connected to the natural world.
93
Contact information for this artist can be found on page 106.
Interstellar Sky Emily Suñez
Oil on Wood Panel 8" x 6" NFS My oil painting “Interstellar Sky” was inspired by a trip to Joshua Tree National Park in July 2020, when the Milky Way was visible across the dark night sky. Gazing into the cosmos from the desert floor gave me great peace and comfort in the midst of the pandemic and social unrest. During this time of societal divisions, these moments remind me that there is much more that unites us than divides us. We’re connected to each other through our beautiful planet, as well as being made of the same elements as the stars, moons, and planets. I strive for my paintings to be a reminder to the viewer of Earth’s beauty and sanctity, as well as the forces of nature that unite us all as human beings. Contact information for this artist can be found on page 106.
94
Blind Date Tsvetelina Valkov
Etching, Aquatint and Watercolor Monoprint 6" x 9" $450 An “armature” of geometric shapes gives structure to layers of watercolor, and at the same time divides the paint in unpredictable color bubbles due to the technical incompatibility between the two media (watercolor and ink).
95
Contact information for this artist can be found on page 106.
Missing Tsvetelina Valkov
Etching, Aquatint and Watercolor Monoprint 4.5" x 6" $400 One of my favorite “constructions” of my monoprints is a geometric background that “holds” a watercolor image. Since the base of the inked plate is oily, the watercolor paints applied on it create an effect of hundreds of bubbles. Perhaps they hide what is “missing” deep under their surface . . .
Contact information for this artist can be found on page 106.
96
The Bottom Line Tsvetelina Valkov
Etching and Watercolor Monoprint 9" x12" $500 A biomorphic ink (etched) drawing is a background for watercolor splashes which cannot settle on the oily base and thus create hundreds of small irregular drops.
97
Contact information for this artist can be found on page 106.
Islands in the Stream Tsvetelina Valkov
Etching and Watercolor Monoprint 9" x 12" $400 A pattern of repeated organic forms (islands = lovers) surrounded by waves of watercolors (the stream = the world), an artist’s reminiscence of The Bee Gees’ song of the same name . . .
Contact information for this artist can be found on page 106.
98
Beach Memories Ken Weintrub
Oil on Cradled Panel 20" x 20" $650 During the past many months we have only memories of the beach, the swirling surf, sand, sunlight and breeze. The color, movement, and joy of the beach and the sea are captured with longing in this painting.
99
Contact information for this artist can be found on page 106.
Time After Time Ken Weintrub
Oil on Cradled Panel 20" x 20" $650 Time is the one thing there is either too much or not enough of. Long lockdowns, quickly fleeting days, weeks and months are all made of the same stuff and yet seem so different. But even little kids know that time is not all the same for it really depends on whether one is having a good time or a bad one. This study in blues and violets draws one in and makes it easy to lose track of time, both contemplating large blocks and small nuances of it . . .
Contact information for this artist can be found on page 106.
100
All Masked Up Ken Weintrub
Acrylic Media on Cradled Panel 20" x 20" $450 In compliance with State mandates, everyone has interacted with others wearing some sort of protective mask. The result has been a de-personalization, an artificial autism where facial expressions are not seen or interpreted. Just the sameness of a white surgical mask or other cloth hindrance is what we are faced with.
101
Contact information for this artist can be found on page 106.
The Plague Ken Weintrub
Watercolor 15" x 22" $250 framed This work expresses the anxiety of a large, impending threat that hangs above and looms over, crushing one flat. Though the artist does not usually reference literary work, there are allusions in it to Camus’ “The Plague” and Poe’s “Masque of the Red Death.”
Contact information for this artist can be found on page 106.
102
So Many Things Don’t Go As Planned... Gayle Westrate
Mixed Media (carbon, graphite and watercolor on paper) 12" x 9" Original NFS This started out as a small study for a larger painting of a spherical glass bowl with a fresh bouquet, dried twigs, and round baskets on an Oriental rug. See them in there? Not so much? Right. As with so many other things in 2020, that entire focus got shifted. Yes, I’ll eventually complete my other vision (I’m stubborn that way), but the truth is, I’ve ended up loving this one for exactly what it is. Just as, yes, I love that @#$% cat . . . and it reminds me that a dash of insouciance really does help sometimes!
103
Contact information for this artist can be found on page 106.
Springtime Is Coming - Be of Good Cheer Gayle Westrate
Mixed Media (graphite on paper original; plus digital addition for prints) 12" x 9" Original NFS In the year of COVID-19 we couldn’t go visiting on a whim, but a couple of years earlier I’d stayed with a friend in the DuPont Lodge at Cumberland Falls. Kentucky’s April is a different palette from Southern California’s: misty murky pastels, delicate almost-bright splashes. Critters came out on their very own balcony, hopping, waddling, pecking and foraging around, then spending long minutes staring out over the edge . . . contemplating? They certainly weren’t soaking up heat from that barely visible sun, but they clearly were appreciating something. In midyear 2020 I made this drawing and sent the original for my friend’s birthday. When Christmas arrived, things were still tense vs. cheerful. This image seemed like exactly the greeting I wanted to send, so I made prints, adding the border and message.
Contact information for this artist can be found on page 106.
104
Contact the Artist Mariko Bird marikoceramics@gmail.com http://www.marikobird.com FB: marikoceramics https://www.pasadenasocietyofartists.org/artists/bird/mariko-bird.html Fred Chuang ftchuang@gmail.com https://fred-chuang.pixels.com/ https://fredchuang.com/ FB: The Art of Fred Chuang IG: @ftchuang https://www.pasadenasocietyofartists.org/artists/chuang/fred-chuang.html Karen Daneshvari kdaneshvari@yahoo.com IG: @studiosummerhill https://www.pasadenasocietyofartists.org/artists/karen-daneshvari/daneshvari.html 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 Maryellen Eltgtoth rettacox26@gmail.com https://www.pasadenasocietyofartists.org/artists/maryellen-eltgroth/maryellen-eltgroth.html Sandy Fisher
sandyfisherfineart@yahoo.com https://www.sandyfisherfineart.com IG: @sandyfisherfineart https://www.pasadenasocietyofartists.org/artists/sandy-fisher/sandy-fisher.html
Karen Hochman Brown hochmanbrown@gmail.com https://www.hochmanbrown.com FB: KarenHochmanBrownArtist IG: @hochmanbrown Vimeo: hochmanbrown https://www.pasadenasocietyofartists.org/artists/brown/brown.html Karen M Holgerson kmholgerson@msn.com https://www.pasadenasocietyofartists.org/artists/karen-holgerson/karen-holgerson.html Dorothe Horttor rndhorttor@earthlink.net FB: Dorothe.Horttor https://www.pasadenasocietyofartists.org/artists/horttor/dorothe-horttor.html Marvin Jackson jacksonmarvin4@gmail.com https://www.pasadenasocietyofartists.org/artists/jackson/jackson.html 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 FB: leah.knecht.3 IG: @leahknecht https://www.pasadenasocietyofartists.org/artists/knecht/leah-knecht.html Nora Koerber norakgroups@gmail.com https://www.norakoerber.com FB: NoraKoerberFineArt https://www.pasadenasocietyofartists.org/artists/koerber/nora-koerber.html Sonali Kolhatkar sonali@sonaliandjim.net http://www.Etsy.com/Shop/Skolhatkar http://www.sonalikolhatkar.com FB: ArtbySonaliKolhatkar IG: @SonaliKolhatkar https://www.pasadenasocietyofartists.org/artists/sonali-kolhatkar/kolhatkar.html Joanna Kos joannakosart@gmail.com https://www.joannakos.com https://www.pasadenasocietyofartists.org/artists/kos/joanna-kos.html
105
Contact The Artist (cont.) Rosina Maize rmaize@earthlink.net https://www.rosinamaize.com/ FB: Rosina Maize Fine Art https://www.pasadenasocietyofartists.org/artists/rosina-maize/rosina-maize.html Janet Manalo jrmana@pacbell.net http://www.JanetManalo.com IG: @JanetManalo20 https://www.pasadenasocietyofartists.org/artists/manalo/janet-manalo.html Kevin McCants umcleball4u@gmail.com https://www.kevinmccantspaintings.com IG: @uncleball4u https://www.pasadenasocietyofartists.org/artists/kevin-mccants/kevin-mccants.html George Paul Miller georgepaulmiller@gmail.com https://www.georgepaulmiller.com/ FB: Art Page for George Paul Millers Art IG: @georgepaulmiller https://www.pasadenasocietyofartists.org/artists/miller-gp/george-paul-miller.html Tom Oldfield toldfield@earthlink.net https://toldfieldphoto.smugmug.com/ https://www.pasadenasocietyofartists.org/artists/tom-oldfield/tom-oldfield.html Victor Picou vicpicou@icloud.com https://www.victorpicou.com https://www.pasadenasocietyofartists.org/artists/picou/victor-picou.html Rebecca Pollack beckpollack@hotmail.com FB: Rebecca Pollack IG: beckpollack https://www.pasadenasocietyofartists.org/artists/pollack/reecca-harvey-pollack.html Margaret Raab margraab248@gmail.com http://www.margaretraab.com IG: @MJRaabFineArt https://www.pasadenasocietyofartists.org/artists/margaret-raab/margaret-raab.html Rhonda Raulston raulstonart@gmail.com https://www.RhondaRaulston.com FB: Rhonda L. Raulston FB: RaulstonART IG: @RaulstonART https://www.pasadenasocietyofartists.org/artists/raulston/rhonda-raulston.html David Sikes davesfile2@gmail.com https://www.pasadenasocietyofartists.org/artists/sikes/david-sikes.html Daniela Soberman danielasoberman@yahoo.com https://www.danielasoberman.com/ IG: @danielasobermanstudio https://www.pasadenasocietyofartists.org/artists/soberman/soberman.html Emily Suñez emilysunez@gmail.com https://www.etsy.com/shop/ArtbyEmilySunez https://emilysunez.com FB: EmilySunez IG: @Emily_the_painter https://www.pasadenasocietyofartists.org/artists/sunez/emily-sunez.html Debbi Swanson Patrick writerphotodeb@gmail.com www.altadenaartcards.com www.tellingimages.com FB: tellingimages FB: debbieswansonpatrick IG: tellingimages https://www.pasadenasocietyofartists.org/artists/debbi-swanson-patrick/debbi-swanson-patrick.html Tsvetelina Valkov lozenez1@yahoo.com FB: Tsvetelina Valkov https://www.pasadenasocietyofartists.org/artists/valkov/tsvetelina-valkov.html Ken Weintrub kweintrub@gmail.com https://www.pasadenasocietyofartists.org/artists/weintrub/weintrub.html Gayle Westrate gayle@designwest.com https://www.pasadenasocietyofartists.org/artists/gayle-westrate/westrate.html
106
Pasadena Society of Artists Board of Directors 2021 - 2022 President: Shaney Watters 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 Past President: Victor Picou PastPresident@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 107
Catalog Production Team Exhibition Chair: Tom Oldfield 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: Karen Hochman Brown Artwork appears courtesy of PSA members. Copyrights held by the artists. All rights reserved. © 2021 Pasadena Society of Artists www.PasadenaSocietyofArtists.org
Burbank Creative Arts Center Gallery, 2015 Keystone Gallery Los Angeles, 2013
Whites Fine Art Gallery Montrose, 2019
108
Call for New Members Are you an artist? Throughout Pasadena Society of Artists’ 96-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. If you are interested in becoming a member, please complete a Membership Inquiry Form, found online, and contact our Director of Membership, Marion Dies. Ms. Dies will notify you when 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 (four if a virtual screening) 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, Martin Mondrus, Betye Saar and many more. We look forward to welcoming new artists to the Pasadena Society of Artists as we approach our 100th anniversary in 2025. For a Membership Inquiry Form go to: https://www.pasadenasocietyofartists.org/get_involved/join/application.html
109
Pasadena Society of Artists P. O. Box 90074 Pasadena, California 91109
www.PasadenaSocietyofArtists.org Facebook: PasadenaSocietyofArtists Instagram: @pasadenasocietyofartists