Leeway PWP Catalog Excerpt

Featuring Recipients of The Leeway Foundation’s
2002 Awards to Emerging and Established Artists
Photography/Works On Paper
Co-curated by The Philadelphia Art Alliance
and The Print Center
At The Philadelphia
Art Alliance
Details, top row, left to right
Barbara Bullock
Karen Fogarty
Tara Goings
Melina Hammer
Yukie Kobayashi
Adrienne Stalek
Rachel Stecker
second row, left to right
Zoe Strauss
At The Print Center
second row, left to right
Astrid Bowlby
Emily Brown
Helen Cahng
Joan Klatchko
Lynnette Mager
Enid Mark
E xhibition
Opening Receptions Thursday, December 5, 5:30–7:30pm
Locations THE PHILADELPHIA ART ALLIANCE
251 South 18th Street, Philadelphia
215.545.4302 www.philartalliance.org
GALLERY HOURS: TUE–SUN, 11AM–5PM
THE PRINT CENTER
1614 Latimer Street, Philadelphia
215.735.6090 www.printcenter.org
GALLERY HOURS: TUE–SAT, 11AM–5:30PM
Closed December 23, 2002–January 5, 2003
For information on lectures and artist talks,
visit the gallery Web sites.
December 5, 2002
t h r o u g h
February 2, 2003

The bessie berman award
$35,000
Barbara Bullock
The Leeway Award for Excellence
$30,000
Astrid Bowlby
Emily Brown
The Leeway Award for Achievement
$20,000
Tara Goings
Enid Mark
2 0 0 2 E s t a b l i s h e d A r t i s t spage 8

2 0 0 2 E m e r g i n g A r t i s t s page 9
The Edna Andrade Award
$15,000
Joan Klatchko
The Inspiration Award
$7,500
Helen Cahng
Melina Hammer
Yukie Kobayashi
Rachel Stecker
The Seedling Award
$2,500
Karen Fogarty
Lynnette Mager
Adrienne Stalek
Zoe Strauss

I am concerned with the continuation of movement, energy, beliefs
and spirit in my paintings. My work is about connections and
retentions. Shaped paintings give me the freedom to define
statements I wish to make; they are direct conversations with the
viewer. Juxtaposition of shapes, color, texture coalesce into
statements formed from memory. Working with collage, I see
people as layers of stories, and habitats and places of energies.
My work seeks to stimulate, nourish and explore. The stimulus is
research, travel, experimentation, painting, teaching and exploring
new materials. My art is a continuum; I want to express spirit,
strength and survival. After traveling to Africa, Brazil and Mexico,
I have continued to research Africa and the countries of its
Diaspora. This gives texture, visual manifestation and excitement
to my painting and teaching.
LEFT PAGE: Ethiopia No1 Lalibella, 2001, 60" x 42"
LEFT: Journey No3, 2000, 54" x 36"
CENTER: Food for the Spirit, 1997, 65" x 30"
RIGHT: Child of the Omo, 1998, 24" x 42"
All flashe paint, watercolor, paper 3lb, acrylic mat,
medium, gold leaf
page 11
Barbara Bullock
Established Artist: The Bessie Berman Award
page 10

I make drawing installations, sculptures from paper that I’ve drawn
on, and single-sheet drawings. This work has evolved from strong
dueling interests in drawing and sculpture, as well as admiration for
the flexibility of paper. I make drawings in a variety of forms in
order to consider themes like expansion, contraction, density,
accrual and scale. Because of this, many of my projects are on-
going. This serializing instinct meshes well with both my interests
in cartooning and animation and my interest in natural patterns of
growth. When I approach a serialized drawing project, I use
repeated imagery that appears in different positions and relative
sizes. Sometimes I imagine the contents of a comic book being
shaken between its covers and dumped onto the floor or expanded
to fill an entire room. I like drawing’s simultaneously literal and
symbolic nature, especially when I cut-out what I’ve drawn. If I
need something: flower, canoe, spiral, star, blob, grilled cheese
sandwich, patch of grass…I can get it by drawing it. I make a
physical analogy to thought that can be reconsidered by being
rearranged and added to. I envision the work evolving through
these various formats for the foreseeable future.
LEFT PAGE: Kit and Caboodle (detail), 1999, ink on cut
paper, 12" x 12" x 24" (dimensions variable)
LEFT TOP: Heroes brush (detail), 1999, ink on cut
LEFT BOTTOM: Ode to Ordinary Things, I
(Leaf pile), 1998-present, ink on cut paper,
12" x 53" x 66"
RIGHT: Kit and Caboodle, 1999, ink on cut
page 13
Astrid Bowlby
Established Artist: The Award for Excellence
page 12
Photo credit: Nicole Cherubini

I have painted for decades in the landscape, both rural and urban.
Out of doors, one can find respite from a measured existence, and
renewal through connections with the conditions and rhythms of
the natural world. Too, one is at the mercy of the shifts of weather
and seasons.
Working increasingly in my studio beginning in 1995, I experi-
mented extensively for several years, trying new media, grounds,
imagery and scale. Recently, I have largely relied on the risky run
together of Sumi ink and water, and the responsiveness of different
papers. A vocabulary of aqueous brush marks continues to build as
the large pages are becoming increasingly filled with selections of
textures found in nature.
Since 1998, my focus has been on the poetry found through the
material and a specific natural subject. I wish my work to be easily
accessible. I am glad to have found relatively universal imagery:
simple surfaces, selections of foliage and grounds of earthy
materials. Some of the results are intentionally meditative in their
character; others are jazzy, sensuous and emotionally expressive. I
mean to bring feelings and thoughts to mind while celebrating the
vital, natural world we can so easily overlook.
LEFT PAGE: Water surface with wake, 2000, ink on paper,
26" x 41"
LEFT TOP: Ordinary people, 2002, ink on paper, 52" x
46"
LEFT BOTTOM: Seaweed, 2000, ink on paper,
26" x 41"
RIGHT: The secret life begins early, 2001,
ink on paper, 46" x 45"
page 15
Emily Brown
Established Artist: The Award for Excellence
page 14
Photo credit: Jeff Hurwitz

The process of making a drawing is mysterious. I work intuitively
and slowly. It can take up to three months to finish a large drawing.
There are thousands of marks, passages and relationships, which
must be adjusted, emphasized or erased.
I research art history, particularly illuminated manuscripts, for my
imagery. Appropriating these sources, I change context and scale,
imbuing the forms and their spaces with dense rhythmic patterns
and wistful internal light. As new narratives develop, resounding
visual elegies are created.
The drawings feel cloaked in a mystery constantly being revealed.
Each being in the work attempts to find its completion in another.
Each expresses longing and separation. These souls cannot
connect, cannot resolve, except through some intervention.
I draw because I like the variety and quality of line, its directness,
as well as its myriad subtleties. The rich black of charcoal, broken
up by exposed patches of paper, creates a feeling of light shining
through stained glass windows.
Drawing explicitly deals with this darkness and light. At night,
perception falters; the stars and the vastness of space create
wonder as the psyche opens to the ineffable.
LEFT PAGE: Knur, 2000, charcoal, graphite on paper,
445
⁄16" x 42"
LEFT TOP: Zum Irrgang, 2001, charcoal, graphite on
paper, 513
⁄4" x 56"
LEFT BOTTOM: Crannog, 2000, charcoal, graphite on
paper, 417
⁄8" x 70"
RIGHT: Tend (detail), 2001, charcoal, graphite on
paper, 46" x 42"
page 17
Tara Goings
Established Artist: The Award for Achievement
page 16

In this age geared to computerization, I seek to make books in an
individual and personal way. I imagine the book as a continuous
picture plane on which word, image, sequence and structure all
reinforce each other. What interests me most is the relationship
between text and image. I plan no hierarchy between them.
My first books were one-of-a-kind efforts that, like most artists’
books, presented political, social and autobiographical ideas. Now
I am more interested in the literary legacy of the book because it
offers a vigorous context, a way to express myself beyond cliché.
Often I work with poetry by or about women. Either I compile
disparate texts that assume greater power when gathered together,
or I collaborate directly with poets. For instance, in To Persephone,
nine 20th-century poets recast the Homeric myth explaining the
origins of the seasons as the story of a young girl caught between
a lover and a mother.
As I search for deeper connections between the verbal and the
visual, my desire is to have my art considered as books and my
books considered as art.
LEFT PAGE: Pages from The Elements: Air and Fire,
2002, lithography/letterpress, 30" x 11"
LEFT TOP: Page from The Elements: Fire, 2002,
lithography/letterpress, 8" x 11"
LEFT BOTTOM: Pages from Precessional: Distances,
1998, lithography/letterpress,
20" x 131
⁄2"
RIGHT: Pages from The Elements: Earth and Water,
2002, lithography/letterpress,
30" x 11"
page 19
Enid Mark
Established Artist: The Award for Achievement
page 18

Coming Home: Levittown Revisited
Green lawns. Tupperware parties. Trips to the mall in the big boxy
car: this was my suburbia, the one stored away in memory all those
years I lived abroad.
T.S. Eliot wrote that “...at the end of all our exploring, (we) will
arrive where we started, and know the place for the first time.”
But after 21 years abroad, I was only able to do this through
photography. Using the suburban setting as the theme—and not
the backdrop—I used my camera to explore the lives of ordinary
American people—including family, friends and neighbors. These
are not people who live on the margins of society, but rather, those
who inhabit that vast, almost mythical place we call suburbia—
and my pictures reveal that moment of drama inherent within the
most ordinary situations. In response to the criticism heaped upon
the identical rows of “ticky-tacky” houses, my pictures show home
renovation as a means of self-expression, and holiday decoration as
a form of public art.
Only through photography was I able to get behind the façade of
cliché, to that subtle and complex place we call “home,” a place
that is an integral part of the American psyche. And because
Levittown is, in many ways, a microcosm of America, this project
became a way for me to rediscover my own home.
LEFT PAGE: Christmas figures, 2000, ink jet print
20" x 131
⁄2"
LEFT TOP: Kelly doing her make-up, 2000, 35mm
color slide
LEFT BOTTOM: Halloween games, 2000, ink jet
print 20" x 131
⁄2"
RIGHT: Frank keeping an eye on his daughter,
2001, ink jet print 24" x 20"
page 21
Joan Klatchko
Emerging Artist: The Edna Andrade Award
page 20

During a recent trip to Los Angeles, I experienced a feeling of
déjà vu. I reflected back to the last time I was there when I realized
there had never been a last time. What I was remembering was a
collection of memories accumulated from a lifetime of mass media
stimulation, which I’d adopted as part of my own history. Through
print, film, television and radio, I had experienced Hollywood
without ever having been there.
To me, art is not merely academic, but also includes the signs,
sounds and symbols that accompany daily life. Mass media has
become an influential part of our collective memory. I create self
portraiture not with a believable physical likeness, but rather with
symbols and text taken from popular culture that contain personal
significance. As familiar images, they create both associative and
inherent responses from the viewer. Through this process, my work
examines relationships between contrasting ideas; word and image,
overt and subliminal, applied and inherent meaning in symbols,
and real and imagined experience. Because they are easily
reproduced and distributed, works on paper lend themselves
readily to this idea.
LEFT PAGE: Self Portrait (detail), 1999, plexiglas,
photographs, name badges, ink,
18" x 24" x 7"
LEFT TOP: Self Portrait, 1999, plexiglas,
photographs, name badges, ink, 18" x 24" x 7"
LEFT BOTTOM: Lights over 405, 2001,
ink jet on paper, 35" x 16"
RIGHT: “Fortune” “Cookies” “Enjoy!” (detail),
2002, mixed media, 45" x 24" x 24"
page 23
Helen Cahng
Emerging Artist: The Inspiration Award
page 22

Imagine a richly-hued world–transcendent, yet achingly familiar.
An alone space, eerily poignant in its singularity.
Provocative, decomposing majesties haunting one’s mind,
unsettling in their full emptiness.
Penetrating “interior” worlds, defined by familiar,
neglected forms…
They are shamefully intimate to me.
Imbued with an earnest, broken magnificence, these spaces
are valiant testimonies to perseverance.
Urban ruins: visceral, elegant, transcendent.
Capturing the “feeling” of life lived is my challenge, my inspiration.
I am beholden to duality of being, to an abandoned, eviscerated
life that is simultaneously abundant, thriving. These polarized
fragments serve as subliminal “source material” as I shoot
my images.
Intuition has integrity; I trust mine to capture the essence of my
fascination. I see power–visual and symbolic–in the shapes of
shadows and light: what they conjure and evoke, as well as what
they describe and disguise. Magic exists in the variance and
dimension of texture, and the vivid spectacle of color. Society’s
disregard provides me opportunity to explore broken pasts,
as well as the realm of new “growth” that results from such
deterioration. These pieces firmly root themselves in what
experience feels like.
LEFT PAGE: Still/Visceral, 2001, type-c print,
48" x 32"
LEFT TOP: Through the Glass, 2001, type-c print,
48" x 32"
LEFT BOTTOM: Remnant, 2001, type-c print,
48" x 32"
RIGHT: Surface, 2001, type-c print, 48" x 32"
page 25
Melina Hammer
page 24

I am interested in creating a visual language, which could have
universal implications. For the past two years, I have been making
sculpture by wrapping handmade paper mixed with human hair on
aluminum wire.
The process of touching and feeling the material is very important
to me and the natural fibers I use relate directly to human tissue,
in that the fibers cover the wire in the same way that skin covers
bone. I then bend and twist the wire to create lines that
express movement.
With these recent works called “Vital Sign,” my intention was to
create a kind of art that relates to other aspects of human
endeavor, including science, religion and philosophy. The ideas for
these works came from human biorhythms.
My desire to communicate in ways other than verbal comes from
the fact that I have spent half my life in Japan and half in the
United States and have found from experience that art has the
ability to speak in a more direct way than language.
LEFT PAGE: Cascade, 2001, colored handmade paper,
aluminum wire, hair, 6' x 1' x 1'
LEFT TOP: Opposite Attract, 2001,
colored handmade paper, aluminum wire,
feather, 8' x 2' x 1'
LEFT BOTTOM: Rebirth, 2002, colored handmade
paper, 10' x 21
⁄2' x 4'
RIGHT: Radiance, 2001, colored handmade paper,
aluminum wire, hair, 6' x 3'x 3'
page 27
Yukie Kobayashi
page 26

Active Players in History Instead of Passive Victims
In many ways the people with whom I share my life set themselves
apart from the general public. My subjects are beautiful people on
the inside and out, and their beliefs are not drawn from the mass
media. I feel they think for themselves and act on those beliefs in
many, if not all, aspects of their lives.
Going into non-traditional settings, I created images that work
along traditional photographic guidelines. I use this technique to
entice the viewer into the images and involve them in the text and
content. My subjects are people who for the most part are
stereotyped because they do not lead conventional lives. Over the
past few years, the media have begun to portray people who lead an
atypical life as destructive. However, what they do has a purpose,
usually to better our society.
I am portraying their beliefs by interviewing them about what they
do in their lives. I also asked them to talk about what they feel is
important. I wanted to give them control of these two aspects
because more people need to know about their beliefs and how
they act on them.
LEFT PAGE: Dave 1, 2001, color print,
10" x 10"
LEFT TOP: Dave’s text, 2001, digital,
81
⁄2" x 11"
LEFT BOTTOM: Dave 2, 2001, color print,
10" x 10"
RIGHT: Dave 3, 2001, color print, 10" x 10"
page 29
Rachel Stecker
page 28

Shared Spaces: A Series of Works On Paper
My work always begins with simple observation. What is going on
around me? Who has a story to tell? Do I feel enough affinity for
the subject to successfully interpret the story? Observation
inevitably leads to attraction, attraction hopefully to attachment
and attachment to involvement.
Structures, houses and neighborhoods have wonderful character.
They wear the mark of time and season. The subject matter is a
testament to both the past and the future. I try to capture that
mark in my drawings.
I combine charcoal and graphite to create a simple, straightforward
image. Graphite produces the detail that I am looking for, while
charcoal allows for the depth of value that I need. The effect is
strong composition based on intense value shifts and interesting,
varied texture.
This series of drawings continues to hold my attention. I plan to
become even more involved in the use of texture as a metaphor
for both the passage of time and the environment in which the
subject exists.
Finally though, it is always the process of creating that gives such
meaning to my life. I cannot imagine a day without art.
LEFT PAGE: Stalwart, 2000, charcoal & graphite,
26" x 31"
LEFT TOP: High Noon, 1999, charcoal & graphite,
30" x 24"
LEFT BOTTOM: Stilted, 1999, charcoal & graphite,
52" x 23"
RIGHT: A Triptych: Aloft (part 3 of 3), 2001,
charcoal & graphite, 27" x 22"
page 31
Karen Fogarty
Emerging Artist: The Seedling Award
page 30

“The whole world for each is peculiar and private to that soul.”
– T.S. Eliot
What an eloquent summation of our uniqueness and isolation. Art
illuminates the fact that while we are all alone in our worlds, that
experience of solitude is universal. The artist makes his/her
perception public, and for the viewer who finds the work relevant,
there is a moment of communion–recognition of a fellow traveler.
My studies and brief work in art therapy have greatly influenced
my attitude towards the work I create. I will embark on a project
with a conscious intent, knowing the work will take on a life of its
own and the larger meaning of the work will become apparent after
completion. Creativity is not a wholly conscious endeavor, art is
not a vehicle to aggrandize the artist’s personal psychology, but
rather the artist is a vehicle to interpret larger cultural, spiritual
or philosophical questions.
LEFT PAGE: White Goggles, 2002, giclee print, 13" x 19"
LEFT : Luminous, 2002, giclee print, 13" x 19"
CENTER: Celina I, 2001, giclee print, 13" x 19"
RIGHT: G-Force Mask, 2002, giclee print, 13" x 19"
page 33
Lynnette Mager
page 32

In my work, personal experience is informed by research on the
history of western science, art, medicine and the development of
western institutions. I am particularly interested in identifying
attitudes and ideas about women’s bodies and femininity from the
historical past through to the present.
My media and the forms of my pieces are representative of the
overlap of art and science and the book as both an art form and a
resource. From antiquity, artists have been called upon to create
images that communicated visually as well as document scientific
process and discovery. These traits of beauty, communication and
functionality are what inspire me to continue my exploration.
The pieces are weavings of text and images, both self-generated
and culled from history and contemporary media. In my work, I use
the layering of visual and written information to reveal the effects
of cultural and social institutions’ practices and deeply-held ideas
on the lives of women.
LEFT PAGE: Reliquary, 2000, hand-colored selenium
toned silver print, wood, gold and silver leaf,
glass, apple, 191
⁄2" x 12" x 5"
LEFT TOP: The Greek Herbal of Dioscorides, 1997,
book of cyanotypes bound in blue suede in
velvet case, 81
⁄4" x 105
⁄8"
LEFT BOTTOM: bar, car, scar (recto), 1998, silver
prints, fabric, human hair, buttons, thread,
stuffing, (dimensions variable)
RIGHT: Edenserpent, 1998, medicine cabinet, inkjet
transparency, selenium toned silver print,
skeleton, eggs, xerox transfer, found objects,
lights, 16" x 20" x 61
⁄2"
page 35
Adrienne Stalek
page 34

I am interested in producing photographs that are both a story
unto themselves and part of a cohesive body of work designed to
be viewed in public spaces.
LEFT PAGE: Untitled (Angel), 2000, 35mm
photograph, 31
⁄2" x 5"
LEFT TOP: Untitled (15th and Reed Sts.), 2001
35mm photograph, 31
⁄2" x 5"
LEFT BOTTOM: Untitled (Mattress Flip), 2001,
35mm photograph, 31
⁄2" x 5"
RIGHT: Untitled (New Year’s 2001), 2001, 35mm
photograph, 31
⁄2" x 5"
page 37
Zoe Strauss
page 36

A R T I S T s ’ B I O G R A P H I E S page 40
LYNNETTE MAGER
Education
BFA, The University of the Arts, Philadelphia, PA, 1991
Selected Exhibitions
Small Works, Creative Artists Network Gallery, Philadelphia, PA, 2002;
Focus 2002, Creative Artists Network Gallery, Philadelphia, PA, 2002; Group
Exhibition, Creative Artists Network Gallery, Philadelphia, PA, 2001; Group
Exhibition, Federal Reserve Bank, Philadelphia, PA, 2001; Juried Exhibition,
Educational Testing Services, Princeton, NJ, 2001; Small Works, Creative Artists
Network Gallery, Philadelphia, PA, 2001; Focus 2001, Creative Artists Network
Gallery, Philadelphia, PA, 2001; Group Exhibition, Federal Reserve Bank,
Philadelphia, PA, 2000; Juried Show, Phillips Mill, New Hope, PA, 1999; Juried
Show, Mayfair, Allentown, PA, 1998
Selected Awards/Honors
Photography Affiliate, Creative Artists Network, 2000-2002
ENID MARK
Education
Graduate Studies, West Chester University, PA, 1991-92, 1974-76;
BA magna cum laude, Smith College, Northampton, MA, 1954
Carl Hertzog Award Exhibition, University of Texas/El Paso, TX, 2002; Fine Printing
From America, British Library, London, England, 2001; Books As Art XIII, National
Museum of Women in the Arts, Washington, DC, 2001; Artists’ Books, Museum
of Contemporary Art San Diego, La Jolla, CA, 1999; Solo Exhibitions: Yale
University, New Haven, CT, 1998; Swarthmore College, Swarthmore, PA, 1999,
1998, 1994; Farnsworth Art Museum, Rockland, ME, 1993; Smith College,
Northampton, MA, 1992; Princeton University, NJ, 1992; A Decade of Fine
Printing, New York Public Library, New York, NY, 1991; Contemporary Philadelphia
Artists, Philadelphia Museum of Art, Philadelphia, PA, 1990
Pew Fellowship in the Arts, 2001; American Color Print Society Awards, 1993,
1988, 1986, 1979; Delaware Art Museum Purchase Award, 1981; University of
Delaware Purchase Awards, 1978, 1974, 1970
Selected Collections
British Library, London, England; Corcoran Gallery of Art, Washington, DC;
Getty Museum Library, Los Angeles, CA; Harvard University, Cambridge, MA;
Library of Congress, Washington, DC; National Gallery of Art, Washington, DC;
National Library of Canada, Ottawa, Canada; New York Public Library, New York,
NY; Philadelphia Museum of Art, Philadelphia, PA; Victoria and Albert Museum,
London, England
ADRIENNE STALEK
Education
MFA, Tyler School of Art, Elkins Park, PA, 1997; BFA, Tyler School of Art,
Elkins Park, PA, 1989
Annual Juried Exhibition, Abington Art Center, Jenkintown, PA, 2002;
Photography 2002, Philadelphia Sketch Club, Philadelphia, PA, 2002; On
Collecting, Philadelphia Art Alliance, Philadelphia, PA, 2001; Philadelphia
Artists in Chicago: A Mail Art Experiment, School of the Art Institute of Chicago,
Chicago, IL, 1999; Bodies’ Edge, Artforms Gallery, Manayunk, PA, 1999; I’m not
spoken for, Window on Broad, Rosenwald-Wolf Gallery, The University of the Arts,
Philadelphia, PA, 1999; First Aid, Sol Mednick Gallery, Philadelphia, PA, 1998;
Sacred Mountain Juried Art Show, Mach Chunk Arts Center, Jim Thorpe, PA,
1998; 6th Annual Phillips Mill Photographic Exhibition, Phillips Mill, New Hope, PA,
1998; Looking at Dogs Through the Camera’s Eye, The American Kennel Club
Museum of the Dog, St. Louis, MO, 1997; 1996 Photography Exhibition, The
Shipley School, Bryn Mawr, PA, 1996; Women/Violence: Testimony and Empathy,
Women’s Studio Workshop, Rosendale, NY, 1996; A Group Show of NY Artists,
Upstairs at Barnard, New York, NY, 1990; 6th Columbia Artists Exhibition,
Columbia University, New York, NY, 1990
Richard Guggenheim Award for Best in 3D, Abington Art Center, 2002;
Temple University Project Completion Grant, 1997
RACHEL STECKER
Education
BFA, Tyler School of Art, Elkins Park, PA, 2001
Student Exhibition, Tyler School of Art, Elkins Park, PA, 2001; BFA Exiting
Exhibition, Elkins Park, PA, 2001; Group Exhibition, A-Space Community
Center, Philadelphia, PA, 1999
Custom Color Photography Award, 2001; The Rhode Island School of Design
Award for Photography, 1997
ZOE STRAUSs
Education
HS Diploma, Philadelphia High School for Girls, Philadelphia, PA, 1987
Under 95, Front and Washington Streets, Philadelphia, PA, 2001; Solo Exhibition,
Rodanvsgriffith, Philadelphia, PA, 2000; Collision at Sea, 5th and Wharton Streets,
Philadelphia, PA, 1999; Exhibition, 4 Star Gallery, Whirlforce Medical Research
Laboratories, Inc., Indianapolis, IN, 1997

Leeway PWP Catalog Excerpt

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