american society of contemporary artists

NUMBER 33 WINT ER2008

ASCA Celebrates it 90th Anniversary at Broome Street Gallery

By J. Sanders Eaton Gallery & Studio Reprinted with permission

Letter to the Membership

From: Harriet FeBland, Hon. Chairman Executive Board

ince its founding in 1917, the membership of the American Society of Contemporary Artists has included such distinguished figures as Chaim Gross, Adolph Gottlieb, and Jacob Lawrence. Celebrating the organizations 90th anniversary, 59 artists from all areas of the United States will be featured in ASCAs Great in 2008, the latest installment of the organizations annual exhibition, at Broome Street Gallery, 498 Broome Street, From November 4 th through 16th. One member with whose work we are long familiar is the New York artist Rose Sigal Ibsen, who although born in Romania has been widely celebrated in China and Japan for her mastery of Asian Brush techniques. Ibsens Cherry Tree in Full Bloom is a tour de force, combining Western coloristic vibrancy with a translucence and fluidity unique to Asian ink and watercolor painting. By contrast, Harriet FeBland, another greatly admired New York artist, employs geometry as what she refers to as the fundamental language and basis of my lifes work. FeBlands special gift for making statements that are not only personal but highly expressive within the stringent discipline of hard edge geometric art is evident in her construction/painting, Where the Sun Shines, where schematized black lines within an austere geometric context suggest beams o solar energy akin to van Goghs brilliant yellow brushstrokes. Varied postmodern approaches to abstract painting make a particularly strong showing this year: Miriam Wills Royal lines, for example is a composition as complex in form and color as Frank Stellas maximalist works in painted steel, albeit it the more remarkable for suggesting a similar massiveness and depth in two dimensions on a relatively smaller scale. Lisa Robbins, on the other hand, adheres faithfully to the frontal integrity of the modernist picture plane in her dynamic monoprint, Introit, featuring colorful shapes with sensual contours and serrated edges suspended weightlessly against a mottled green field. Then there is Harriet Regina Marion, whose work in mixed media, Turquoise Souffl combines areas of blazingly brilliant
ASCAs 90th Anniversary, Continued on page 2

Dear members. t the end of this most tumultuous past year for ASCA the executive board AND I would like to wish all our members a most happy, peaceful and creative New Year 2009 During 2008-'09, the Executive Board was formed to continue the business of ASCA in an orderly manner, until a new President could be found. The executive board, Raymond Shanfeld, Raymond Weinstein Frank Mann and I did finally succeed during December to recommend, unanimously, our past Treasurer Barbara Schiller. She has agreed to accept the position, as ASCA President beginning 2009-2011. You will have already received an ASCA Ballot, voted and should have returned it to Raymond Shanfeld before the deadline of December 31. Much has been accomplished during this past year. We are printing a new ASCA flyer, designed by Isabel Shaw with a short history by Frank Mann, and an invitation to qualified artists to join as new members. These flyers will be distributed to all members in hopes that you will recommend "artists of quality" to join our ranks. Many committees have been set up. An organized list of Chairs and committee members are available. If you are on a committee, please call your fellow committee members or the Chair and make a success of the job you volunteered to do. Our new President anticipates your help as she initiates her plans for our mutual success. If you are not on a committee, you can volunteer for one, be a volunteer "sitter" at our annual show, or if none of the above, give a donation to "Friends of ASCA" AS ALL MEMBERS ARE EXPECTED TO VOLUNTEER FOR SOMETHING. We hope members will help find new venues for exhibitions. Previous galleries or exhibition spaces you've shown in are the places to ask concerning an ASCA exhibit. Do remember to think of ASCA when you happen to be speaking with the person in charge of a gallery. Our member Elvira Dimitrij in Atlanta has managed to have our book accepted in two separate Libraries in Atlanta, GA. Please note: Members out of State, this

Letter to Membership, Continued on page 5

An Introduction to ASCAS President, Barbara Browner Schiller

Lets get personal: comments on what ASCA meant to Joe Lubrano

by Linda Lucia Lubrano At ASCAs Anniversary Party, Linda Lubrano talks about the importance of ASCA in Joe Lubranos life

arbara received her BS in Education at SUNY Cortland in '64 and her MS at Hunter College in' 70. She attended Parson's-The New School and School of Visual Arts. Besides ASCA , where she has performed as Treasurer, she is a member of the Katonah Museum Artist's Assoc., The Greenwich Art Society and the Pen and Brush in NYC where she juried-in potential members. She has been honored as "Woman of the Year 2004" at Temple Beth Shalom for her fund raising activities and is listed in Who's Who in American Art and Who's Who of American Women. Her exhibition experience and varied cooperative organizational activities makes her an outstanding and ideal candidate as ASCA's next President. Harriet FeBland, for the ASCA Executive Board Committee

ASCAs 90th Anniversary, Continued from page 1

color with drop dead formal boldness. Marions flat shapes billow buoyantly, achieving a striking emblematic impact. Two talented stone sculptors also reveal contrasting approaches to abstract form: Raymond Weinsteins piece in alabaster, Enigma, is notable for its sensual organic fluidity, conducting the eye on a roller coaster ride through positive and negative spaces. Ray Shanfeld,, however, employs a stately squared off marble shape, suggesting an ancient tablet, balanced upon a smaller slab of marble and carved in a manner evoking a primitive mask, in his evocative piece Directions. Also included will be an intriguing frontal frieze in graphite and ink called Raceing Sideways by guest artist Nikolai Buglaj, depicting thirteen neck-and-neck runners in various monochromatic tones, commenting wryly on our lack of progress in race relations. Judging from even the s mall sampling of works that were available for preview well in advance of the exhibition, this 90th anniversary edition of the ASCAs annual exhibition (to be juried by Dede Young, Curator of Contemporary Art, the Neuberger Museum, Purchase, New York, Dr. Jose Rodeiro, Art Historian, at New Jersey City University, and Laura Vookles, Art Curator at the Hudson River Museum), promises to be one of the highlights of the winter art season.

On CreativityThere are painters who transform the sun to a yellow spot, but there are others who with the help of their art and their intelligence transform a yellow spot into the sun. Picasso 2

irst, I want to thank Estelle Levy, Doris Wyman, and other members of ASCA for inviting Randy and me to join in the celebration of ASCAs 90th Anniversary. I also want to thank former presidents Harriet FeBland, Jessica Iwamoto, and all the wonderful members of ASCA who have continued to welcome us into ASCA events. Your warmth and hospitality have been sustaining in a personal way, since you represent an extended family of my fathers friendships and the world of art that he loved so much. We are very happy to be here. Estelle asked me to speak today about what ASCA meant to Joe; after all, it was a central part of his life for 18 years. He was always proud of being a member and felt a strong commitment to ASCAs success and vitality in the art community. In April 1994 Bernie Olshan announced that he would step down as ASCA President after six years of service. It was clear that ASCA needed a new President. Bernie nominated Joe for the position and he accepted it with enthusiasm. He was determined to do whatever he could to keep ASCA alive and well. And he did. Joes work for ASCA was truly a labor of love. He often spoke with me about meetings and events. He took me to ASCA exhibits, eager to show the work of fellow artists, and he spoke with great animation about ideas he had to further ASCAs development. We were always amazed at the amount of energy that he poured into his work, whether he was thinking about new ways of doing things or his meticulous attention to details. It was with great reluctance that he gave up the ASCA presidency when we had to move him to Virginia because of failing health. But he would not relinquish the Newsletter. He wanted to continue his work for ASCA,, and even in his weakest moments; he didnt miss an issue. We knew that ASCA had become a central part of his life and could not be left behind as we closed down his apartment in the Bronx. So, we moved all his ASCA papers and set up his office in his Virginia apartment. As his strength gradually returned he was busy once again writing letters for the Me-

morial Awards and consulting with ASCA presidents and other members who continued to call him. His work for ASCA and the continuity of his personal contacts with many of you during the last two years of his life helped to keep him going. He was up early each morning so that he could work for ASCA before going to dialysis, and he would return to his desk afterwards if he could. Although he had been transplanted to Virginia, he lived as if he were still in New York interacting with you as much as he could. He valued the many friendships that had developed over those 18 years. Even when there were differences of opinion, there remained a mutual respect and common commitment. Many of you sent him personal notes and artistic cards over the years. These were precious to him; he saved every one of them. Without ASCA those friendships would not have been possible. Yes, ASCA gave him a daily agenda that he looked forward to and friendships he cherished. It also revealed to him a side of his nature that he had not fully explored in his younger years. He told me that before his presidency of the Brooklyn Watercolor Society (1989-1995) and then of ASCA, he had not been in leadership positions of that sort before. Working with many different personalities and viewpoints in the establishment of common understandings and objectives was something he really enjoyed. I remember him talking with me about this as we sat around the kitchen table in the Bronx and he said I didnt know I had it in me. As a daughter I was sometimes worried that he was overextended, especially in the 1990s when he was also caring for his wife Gigi who had Alzheimers disease. But what I learned from him is that we have to balance our lives; we have to express the many dimensions of who we are. ASCA helped to provide that balance for him. As he got closer to the age of 93, people would ask him, What is the secret of living well? He always answered, Find something you love to do, and keep on doing it. He loved his work for ASCA; and he kept on doing it. It is fitting, therefore, that his family would want to commemorate Joes love for ASCA with contributions to its activities. In addition to the completion of ASCAs 27th Newsletter, Randy and I pledged last year to donate an award for this years Annual Show, namely The Joseph V. Lubrano Award in Memory of Sidney E. Zimmerman. Joe and Sid died within a few months of each other. The two men shared a long friendship during their many years of collaboration on ASCA projects. A second type of activity where we can contribute is to set up an Award Fund for Art Students. In looking through Joes papers this past summer we saw repeated references to his strong interest in promoting young art talent. We would like to provide funding for art student awards over a five year period through ASCA and were already thinking of the best way to present this commitment when we received Estelles phone call inviting us to the 90th Anniversary Celebration. We are taking this occasion, therefore, to provide a formal letter to ASCA in

which we pledge $1,000 for the establishment of the Joseph V. Lubrano ASCA Award Fund for Art Students. Since we wanted keep this a surprise, we havent discussed it with any ASCA members, and can only hope that you are willing to accept it. Im sure we can work out the details later on. Our third contribution is one that we have discussed with President Emeritus Harriet FeBland, and it provides a segue to my introduction of the next speaker. Joe Lubrano and Bernie Kassoy were very close friends, not only through ASCA, but also as neighbors in the Amalgamated Apartments where they both lived and exhibited their work. Randy and I got to know Bernie over the years and we are truly saddened by his death. As a small token of our admiration for Bernie and his continuing participation in art events at Lehman College in the Bronx, and also as a commemoration of the deep friendship he shared with my father, we are donating The Joseph V. Lubrano ASCA Award in Memory of Bernie Kassoy to be given to a student in the Art Department at Lehman College of the City University of New York for outstanding creativity and artistic achievement. We have invited Honey Kassoy to jury the award, which we anticipate will be given next April or May. Now, Id like to turn the floor over to Honey Kassoy, whose beautiful partnership with Bernie is one that Randy and I have long admired and respected. Thank you.

Joe working on ASCA Newsletter 24 in his Virginia apartment, August 2006.

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e need volunteers to help continue the survival of our ASCA Newsletter. We welcome art-related articles, reviews of exhibitions and your upcoming shows. Send your material to: Hank Rondina 209 Lincoln Place, Eastchester, New York 10709; Telephone (914) 793-1376; or email it to artist@hankrondina.com

Imelda Cajipe Endaya: An Artist in Her Prime

By Harriet FeBland

ery few times in my experience do I come across art that so emphatically projects femininity. The term does not equate weakness, rather it is positive, and it is the force that is Imelda Cajipe Endayas strength and essence. Whatever else she projects in her art, this essential element permeates all of it and comes to us, her viewers wrapped in this powerful female cloak. Only in comparatively recent years has the worlds art mainstream began to recognize the serious contributions of feminine art. While condemned and ignored for centuries, there is today an enlightened and growing awareness of the differences of masculine and feminine reference. The art communities today are becoming more accepting of both masculine and feminine elements, seeing these as different but relevant, and both of equal importance to a more embracing and perceptive audience. Cajipe Endayas femininity, her strength, is the foundation of what she creates. Its impact is immediate--- we are made aware of powerful colors, multiple patterns upon patterns, textured cloth and designed papers, tactile and touchable, buttons and strings. All of these are factors of her environment, her people, her country and the women, men, and crafts that surround her. It is as though we enter a warm and welcoming sewing roomcum- art studio full of materials, texture, with quilting and stitching galore, and paint, glue, wood and canvas---a craft persons inner sanctum. Her work is steeped in the circumstance and aggregate social and cultural conditions from which she was born and which has nurtured the choice and direction of her art. Some works are echoes of this past, but there is also a powerful awareness of the present. Her stories exhibit an ever present awareness of the challenges of life, its happiness and sorrows, which unfold through a myriad of symbols both personal and universal. Her narratives speak to us through nature, people, and places, which are universal statements, yet hers are also profoundly personal and cultural. One becomes totally aware of her role as a Filipino artist, as woman, and as social activist. We see a masters hand that creates a sophisticated folk quality in many works while also projecting issues and strong political statements of her ethnicity and gender yet all the while in harmony with the artistic integrity of her work of art. Although it is very necessary to discuss an artists work through its theme, narrative or story, art can never achieve greatness without the artists knowledge of the technique and excellence to successfully make that statement. It is not what you say, but the way you say it. Success comes with knowing HOW to say it, and that is technique and media. Much of ones artistic development

and successes comes through a knowledge of media. Working through media allows a creative growth of technique. An artist experiments with paint, or any other material available to create a work of art. By adding other material to the paint the artist begins to think in dimension. Paint, sand, cloth, and paper becomes collage. From collage, it is a natural progression to add heavier material until eventually a painting may become a wall-relief, construction, of wood or metal, or an assemblage of many materials. Much of these experiments project the past history of Cajipe-Endayas development in the media of her choice. Wall-relief constructions if carried to a normal conclusion eventually can come off the wall and stand alone as a sculpture. The change is a significant indication of an artist evolving and maturing. Significantly, Cajipe-Endayas tendencies toward sculpture were installations, (a series of constructions developed through her beginnings with collage and onward.) Installations are a contemporary form of sculpturetheatre and again a natural progression of visual dimension in her art. Along with all her significant choice of media is also her strong design sense, intuitive, sometime blazing color combinations and feelings of texture. One wants to feel the surfaces. They are tactile, welcoming, and busy. All these feelings come from color, surfaces, dimension, and textures---ingredients that make the viewer feel good, bad, or indifferent to a work of art. They, combined with the story she tells makes her work the success it is--- a powerful statement by an outstanding Filipino artist in her prime.

ASCA DOCUMENTARY FILM

ollowing the huge success of the ASCA book, we are embarking on an ambitious film project with a projected DVD as the result. Do you want to be interviewed for the ASCA documentary film? Contact Stephen Beveridge at mail@scotstyle.com and arrange a time for your studio interview, or call Stephen at (212) 928-8351. A DVD will be available to members for a small fee to cover production costs.

Letter to Membership, Continued from page 1

is a simple thing you can do. Try to have the ASCA book accepted into your local Library. We will send you one or two books, which have by now been accepted in many major libraries including the Library of Congress in Washington D.C. A list of these libraries is available. With the change of leadership we will now have a new Treasurer for 2009 and we welcome Allan Simpson into this new post. More details will soon be forthcoming. Some of the committees formed which members should be aware of are: Fund Raising: Chair Gerda Roze: Make all donations to ASCA through her. We need your help to continue new programs and your name will be printed in our Newsletter. Gallery Search: does not have a Chair, but several members are on the committee. We need a person to coordinate this important committee. Social Secretary: Olga Kitt Please give any news to her for anniversaries or other personal news. Newsletter: Hank Rondina is our Editor. He always needs articles and other news. Membership: Raymond Weinstein is Chair, for new members and Jessica Iwamoto on his committee. Reception: We need a Chair for our exhibits and events. Some of the directions we are hoping to continue to explore and develop are: To find a museum to accept an ASCA Art Collection. We would like to form a committee to help do this, also possibly publish a new book of members art work. Imelda Endaya has an interest in this moving this forward. To join these committees give us your name. Keep in touch with these hard working members. Much more is in the works for our future. We hope you will become an active member for our mutual success. ASCA works for you and with you. Don't be left out. With this brief report I would like to say it has been my great pleasure for the past 4 years and many years before to have been a past President (1981-83, and 20052007) acting President (2004) and Hon. Executive Board Chair (2008) to have volunteered my time to ASCA. This is a great organization, unique and unusual in that it sincerely cares about its members as well as the organization. I have made many heartfelt and sincere friendships that I will always remember and I hope you will find your experiences here as rewarding as I have. It is therefore my great pleasure to turn my responsibilities over to our new President elect in 2009. Once again, a very Happy New Year to everyone and thank you again ASCA. Harriet FeBland, President Emeritus "All methods are sacred if they are internally necessary. All methods are sins if they are not justified by internal necessity." Wassily Kandinsky 5

PROFILES: Talking with Amie, The Artist behind the Art

By Amie Tatem-Araaya

PROFILES: Talking with Amie, The Artist behind the Artist is a new column that will be appearing in your newsletter. I will feature two, ASCA, artists, talking about their work with Amie Tatem-Araaya. I want to thank Amie for her dedication to this project. In this issue, Amie interviews Nikolai Buglaj, guest artist at our annual exhibit and Hank Rondina. PROFILES the Artist behind the Art Nikolai Buglaj talking with Amie At what age were you aware that you loved creating art? It was a very gradual process for me. Was there an event or person in your life that acted as a motivating force for your art? The plays of Samuel Beckett his quote: Nothing is more real than nothing. How would you describe your present style? Through representational art I remove the boundary between culture and illusion. I also treat progress as an illusion it has to be pointed out. This illusion has the power of a lens, distorting everything we see. How would you compare it with one of your past styles? It started as artistic behavior and gradually became cultural behavior with me. What does creating art do for you which nothing else does? It is the only tool I have with which I can explore my self. Are there other forms of art that you enjoy making or participating in? Music through listening listening is active; its a verb. Art is non-verbal expression. It can also communicate. Is communication to others important to you? If so, why? Yes. My work has verbal overtones or bordering on linguistic illusions. Is there any art work of your own that you could never part with that you always want to have in sight? I would not part with Race ing Sideways
Taking with Amie, Continued on page 12

ASCAS GREAT IN 2008

Reception at Broome St. Gallery

he ASCA GREAT IN 2008 reception at the Broome St. Gallery.

ASCAS 90th ANNIVERSARY LUNCHOEN AT THE LAFAYETTE

n October 11th, 2008 the American Society of Contemporary Artists celebrated its 90th anniversary at the Lafayette Grill, NYC.. The program included Welcome by Estelle Levy and Doris Wyman, Speakers- Stephen Beveridge, Linda Lubrano, Hortense Kassoy and Harriet FeBland. Entertainment- Belly dancer, Jadona (Judith Vancamp) As you can see, those in attendance thoroughly enjoyed the festivities.

ASCA ART GALLERY

he ASCA ART GALLERY presents examples of art by ASCA members selected from the Gallery Album. Please send photos of your recent work, and if space permits, they may be included in upcoming editions of the Newsletter. Remember to include your name, the title of your work, the medium, and an arrow showing which side is UP. Mail your photos to Hank Rondina, 209 Lincoln Place, Eastchester, New York 10709.

BOBBIE SCHILLER A Delicate Balance

OLGA KITT Damoiselles Da Bronx Graffiti

LEE, SUN-DUN Cosmos Eye

JUDITH HUTTNER Pandora

MIRIAM WILLS Angled Sound

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ROSE SIGAL IBSEN Dancing in The Sun

ELVIRA DIMITRIJ The View

FRED TERNA The Ovens

TAMARA TARASIEWITZ Spirituality

JESSICA IWAMOTO Yellow Light

ELINORE BUCHOLTZ Enchantments The Moons Own

EL Enchant

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Talking with Amie, Continued from page 5

However, subject and palette has changed dramatically. My subjects are conceptual and often spontaneous rather than concrete and planned. My palette has been reduced to red, magenta, cyan, ultramarine and yellow. I will mix whatever color I need from these primaries.

Race ing Sideways 30 x 40, Drawing in pencil and ink, 1991

PROFILES the Artist behind the Art Hank Rondina talking with Amie At what age were you aware that you loved creating art? The first piece of art I created was a color pencil drawing of a pet parakeet, named Buzzy. Buzzy was a parakeet we found in Lavallette, NJ, while on a family vacation. I was about 7 years old. I was laying on the floor of our supt. apartment on 228th St. in the Bronx. Was there an event or person in your life that acted as a motivating force in your art? No one person or event How would you describe your present style? Twenty years ago my art was anchored in sculpture. I sculpted metal and utilized scrap and auto parts: fenders, axels etc. It was abstract, gestural and a lot of fun. My work ten years ago, when I did create, was still in the abstract, but as a result of RP, I was not able to weld. About five years ago, after becoming legally blind, I turned to painting. I used watercolor because of its immediacy. However, my work became more representational. I joined a local art association and representational subjects creped into my work because it was what the majority of the organization was doing and selling. I was not happy. I felt confined, restricted and not true to my self. A little over 3 years ago, the inner began to come back, because I wanted it back. I wanted the freedom to create and feel my work. I began introducing torn paper and experimenting. I was ecstatic. I rediscovered Kandinsky and Itten and haven't looked back. How would you compare it with one of your past styles? I was always comfortable working in the abstract. Then, I was ensnared in the pretty picture period; the need to create paintings that pleases the masses. Yet, the need to hear a painting when it is finished has stayed the same. My search for the vibration in my work has not changed.

What does creating art do for you - that nothing else does? Creating art is a journey. It is a mystical trip within one's self: a self exploration. Creating art is letting go of all the outside influences we are bombarded with each day. It's union of the artist and his body, mind and spirit. Are there other forms of art that you enjoy making or participating in? I play piano. Took a few lessons Not that good, but still enjoy it. Art is non-verbal expression. It can also communicate. Is communication to others important to you? Yes If so, why? Ideally, one would look at my work and come away with a feeling of joy, harmony and sometimes dissonance I want the viewers to not only view the paintings but also listen to them. I want them to recognize how line and shape and color impact on the sound of the painting and that any variation in those elements affects the composition Is there any art work of your own that you could never part withthat you always want to have in sight? Usually it is the last painting. I need to live with it for a while. The painting becomes the teacher. The creative process does not stop when the painting is finished and framed. The journey does not end. When you create a work and channel life into that piece, you have the responsibility, as its creator, to learn what it is that makes the painting work. The painting becomes the precursor for the next work and so on. The journey and selfdiscovery continues. Thank you, Hank and Nick, for giving us a glimpse of the Artist behind the Art. Amie Tatem-Araaya

Drawing for G Flat II-V-I Chords

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I. ON POINT Wassily Kandinsky

In 1982 Kenneth Lindsay, Professor Emeritus of Art History, State University of New York in Binghamton and Peter Vergo, Professor and Department Head, Art History and Theory at the University of Essex, United Kingdom published Kandinsky: Complete Writings on Art. The volume presents all of Kandinskys writings during his lifetime. 1919-1920 was a period of intense theoretical and critical activity for Kandinsky. During these few months her published six major articles on aspects of modern art and designThe following is On Point.

has been raised. From behind it the secret meaning of the point can be discerned. Our experience of it has become stronger, and its inner sound not reaches the ear, albeit superficially. I refute the practical meaning of the point and put one here In doing so, I abstract the point from its usual conditions of life. It has become not only not expedient, but also unpractical, nonsensical. It has become not only not expedient, but also unpractical, nonsensical. It has begun to break through the conventions of its existence; it is on the threshold of an independent life, an independent destiny. The thick veil has been rent from top to bottom. The astounded ear perceives an unfamiliar sound, the new utterance of what once seemed a speechless being. Once and for all, I sever the points connection with what seemed to be its own peculiar environment. I transfer it into the extraordinary condition of total freedom from outer expediency, from practical meaning. The reader, who has suddenly been transformed into a spectator, sees the point on a clean part of the page. He says farewell to the now insane punctuation mark and sees before him a graphic and painterly sign. The point, liberated from its coercive destiny, has become the citizen of a new world of art. The veil has been rent in twain. The inner sound fills the ear that can hear. The door has been flung open. I summon my reader to enter a new world, on that is called now a temple, now a studio and one whose eternal name is art. For the moment I done all I can in my modest assignment. The reader, who is now a spectator, must open his eyes and ears. In the next issue we will continue with II. On Line

he accustomed eye responds dispassionately to punctuation marks. It transmits its impression to the brain dispassionately, and in accordance with these marks, the brain judges the greater or lesser completeness of the idea expressed. The point is the completion of a more or less complex idea. It does not appear to have its own life and in itself denotes nothing. The accustomed eye slithers dispassionately over objects. The dulled ear accumulates words and transmits them mechanically to the consciousness. The outer expediency and practical significance of the entire world around us have concealed the essence of what we see and hear behind a thick veil. And often we do not even suspect the resonance of phenomena or their radiant emanations. This thick veil hides the inexhaustible material of art. And yet, beyond it there live innumerable beings-each with its own essence, its own destiny. From among their infinite number of various arts could and soon willindeed, have already begun to-select their requisite materials of construction. Such are the resources of painting (abstract and realistic), of sculpture, poetry, danceof all the arts. In these few lines I shall dwell only upon one of these beings, which, in its tiny dimensions approaches nothing, but has a powerful living forcethe point. Our normal encounter with this living, powerful being constantly occurs in the written or printed line, where it serves as an outwardly expedient sign with a factual meaning. By carrying out a few experiments with this point to which we have become accustomed, I shall try to part the thick veil dividing us from the inner essence of the point and stifling its inner sound. At this juncture I put a . A whole world now vacillates because of this unimportant event. The point is in the wrong place and its external expedience has suffered tragically. The accustomed eye has already lost its total indifference. It is rather puzzled and insulted. The reader explains this abnormality as a misprint of an accident. So thanks to one or another explanation, the practical meaning of the point remains constant. But the veil 13

e need volunteers to help continue the survival of our ASCA Newsletter. We welcome art-related articles, reviews of exhibitions and your upcoming shows. Send your material to: Hank Rondina 209 Lincoln Place, Eastchester, New York 10709; Telephone (914) 793-1376; or email it to artist@hankrondina.com

ASCAS RESUME AND PHOTOGRAPHY BANK

From Harriet FeBland: President Emeritus CHAIR: Biographical Bank and Exhibitions

NEW EXHIBITIONS
From Harriet FeBland: President Emeritus CHAIR: Biographical Bank and Exhibitions

ASCA

continues to keep a current bank of our members resumes, slides, photographs and background material. We submit these examples when negotiating with possible venues for exhibitions. Most curators and directors (but not all) request to see our members recent works which would be available now for exhibition, sometimes making their selections of particular artists during these early interviews. Mostly at this early stage, their interest is an artists style, not in a particular piece of art. Nevertheless, please submit works that are available should they make a particular selection. ALL NEW MEMBERS are requested to submit the following to be included in these presentations: 1. Three slides of available work 2. A one page resume with 6 copies 3. Two copies of a black and white photograph of one of the works 4. Any extra printed material you would like them to see with your slides, such as invitations with examples of your paintings or sculpture in color. (Send duplicates.) These materials and slides will not be returned. PLEASE NOTE: With so many members, I am able to show one slide only per artist plus your resume, and whatever background material you send me. Background material should give further examples of your art, since only one slide represents you. MEMBERS who want to update their material, I am unable to return your files without a stamped, self addressed, large, manila envelope, or a personal visit where you can change your material yourself. To do so, Tel. 212-759-2215 or e-mail HarrietFeBland@aol.com. NEW MEMBERS: Send material to Harriet FeBland 245 East 63rd Street (1803) New York, New York 10065

ASCA

would like to have shows in your neighborhood, (Westchester, New Jersey, Connecticut, Pennsylvania, etc., anywhere in the USA) You are our best spokes-person to help initiate our future exhibitions. You have all exhibited in galleries, art centers or museums that could host an ASCA show. PLEASE CONSIDER just speaking with the Director, President or other person in charge of a likely place. Our shows are top professionals. Dont be afraid to say so. Our ASCA book is available as an example to show them. We cannot have exhibitions without your help and initiative. Members outside of New York City, we want to exhibit in your area and we especially need your help and input. All members are asked to do something for the society, and our exhibitions are the reason why we have been organized for 90 years. We look forward to hearing from you. Please join this committee and help with a most important area of the organization. Contact: Harriet FeBland President Emeritus, Exhibitions Chair 245 East 63rd Street (1803) New York, New York 10065 Tel: (212) 759-2215 e-mail HarrietFeBland@aol.com

e need volunteers to help continue the survival of our ASCA Newsletter. We welcome art-related articles, reviews of exhibitions and your upcoming shows. Send your material to: Hank Rondina 209 Lincoln Place, Eastchester, New York 10709; Telephone (914) 793-1376; or email it to artist@hankrondina.com

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AWARDS ASCAS GREAT IN 2008

Imelda Cajipe Endaya Irwin and Florence Zlowe ASCA Memorial Award, 2008 Olivia Koopalethes Roy Moyer ASCA Memorial Award, 2008 Harriet FeBland Rose Hart Betensky ASCA Memorial Award, 2008 Harriet Regina Marion Isobel Sokolow ASCA Memorial Award, 2008 Estelle Levy Harriet FeBland Award Honoring Bernard Kassoy 2008 Ginny B. Rogers Bernard Kassoy ASCA Memorial Award, 2008 Doris Wyman Alexander Rosen ASCA Memorial Award, 2008 Mina Myar Kim and Robert Kiyosaki ASCA Memorial Art Award, 2008 Marcia Bernstein Jami Taback ASCA Award Honoring Marilyn Morgenstern 2008 Ilse Kahane Christine Jones Marocco ASCA Award Honoring Sueyoshi Iwamoto 2008 Nilolai Buglaj Neva Setlow ASCA Creative Art Award Honoring Eve K. Cummings 2008 Uri Shulevitz The American Society of Contemporary Artists Award 2008 Lawrence Alboum The Joseph V. Lubrano ASCA Memorial Award in Memory of Sidney E. Zimmerman Florence Keveson ASCA Honorable Mention Painting Award, 2008 Erin Stukey Johnson ASCA Honorable Mention Graphics Award, 2008 Jan Wunderman ASCA Honorable Mention Sculpture Award, 2008

MEMBER EXHIBITS AND NEWS

BARBARA SCHILLER, ELECTED PRESIDENT OF ASCA 2009 DUES TO INCLUDE ENTRY FEE FOR ASCAS ANNUAL EXHIBIT

he Board of Directors has approved the proposal that we have our annual dues set at $95.00. This will include the cost of entering the Broome Street Gallery exhibit. This is NOT an increase in dues! Combining both dues and the annual exhibit entry fee will save the work and the cost associated with two separate mailings. In addition, It will also help prevent the complications that arise when members accidentally pay twice. LAWRENCE ALBOUM- Exhibiting at the Art Connections 5, at the George Segal Gallery, Montclair State University, Jan. 15th-Feb. 15th, 2009

MARCIA BERNSTEIN- Exhibited at Women in the

Arts exhibit Due North From New York City, Potsdam, N.Y.-ALSO- The Nature of Things, Interchurch Center, N.Y. -ALSO- NAWA at 120 at the Noyes Museum of

Art, N.J. ELINORE BUCHOLTZ isAp Back Room On-line Show 2008-ALSO 2008 Christmas show at Art Students League,-ALSO- WSACs annual abstract show at the Broadway Mall 96th. and Broadway,-ALSO Solo exhibition in the Berkeley College gallery 3 E. 43rd. St.ALSO- Solo exhibition in the lobby of 200 E. 36th. St., ELEANOR COMINS Exhibiting at Delaware County
Community College, Feb. 16th-Mar. 13th ALSO- HubRobeson Galleries, Penn State University, Apr. 2 nd-May 6th.

HARRIET FeBLAND- Exhibiting at the Roland Gibson

Museum, Gibson Gallery Acquisitions Exhibition "SUNY, Potsdam College, Potsdam, N.Y. Jan. 29th - Feb. 28th, 2009 -ALSO- Visual Arts Center of N.J. Summit N.J."23rd International Juried Show" Feb.13 th - Mar. 27th , 2009-ALSO- Zimmerli Art Museum University, "A Parallel Presence "A history of Women Sculptors, acquisition collection Jan 17 - Apr 12 2009-ALSO- The Agnes K. Waverly, CT. Honors: Sponsored and funded their recently digitally restored 1986 film for TV titled FeBland" and published a new color catalog for distribution to
See Membership News page 16

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Membership News continued from page 11

museums in U.S. & U.K. Feb. 2009-ALSO- Broom Street Gallery, "ASCA 90th Annual-ASCA's Great in 2008"Nov 4-16 '2008 and Received the "Rose Hart Betensky ASCA Award" for her wall relief "Where The Sun Shines" at the 90th Annual, NYC -ALSO- at the Ormond Memorial Art Museum, Ormond Beach, FL. "Society of American Graphic Artists" Oct 10-Nov 23 2008

tion in Oct. 2008

HEDY O BEIL Awarded grants from the PollockKrasner Foundation and The American Institute of Arts & Letters. ALAN ROLAND- Oct., 2008, Received an award for
his Self-Portrait at the Audubon Artists Annual Exhibit at the Salmagundi Club, N.Y., N.Y. in October, ALSO- authored a book, Dreams and Drama: Psychoanalytic Criticism, Creativity and The Artist. Available through Wesleyan University Press . BARBARA BROWNER SCHILLER- Solo Exhibit at the Amsterdam Whitney Gallery, 511 West 25th St., N.Y., N.Y. Cornucopic Divinities, Oct. 31st-Nov.25th, 2008.

ROSE SIGAL IBSEN- Dec. 2008, presented a demonstration in Japanese Calligraphy at East West Bookstore 78 5th Ave, N.Y., N.Y. OLGA KITT- Dec. 1st-20th, one person show, Prints,
Etc. at the Riverdale-Yonkers Society For Ethical Culture. Sponsor, the Riverdale Art Association.

ESTELL LEVY- The Government Accountability Project in Washington D.C. has acquired and is exhibiting her work in their permanent collection-ALSO- Work included in National Women Artists Association in NAWAS Spring to Summer exhibit-ALSO- Exhibited at the National Women Artists Associations 119th Annual Exhibition at Goggle Works, Reading, PA., -ALSO- Exhibited at the National Women Artists Associations 119th Annual Exhibition at Goggle Works, Reading, PA., ALSO- Exhibited in the Women in the Arts exhibition, at the Creative Spirit Art Center in Potsdam, N.Y.

e need volunteers to help continue the survival of our ASCA Newsletter. We welcome art-related articles, reviews of exhibitions and your upcoming shows. Send your material to: Hank Rondina 209 Lincoln Place, Eastchester, New York 10709; Tele- (914) 793-1376; email- artist@hankrondina.com

LEE,SUN-DUN -Selected to exhibit in the 53rd Venice

Biennale-ALSO- SOLO exhibition Create & Change: Internal = External, 1= at Palazzo Pisani Santa Marina, Venice from Jun. 3rd-Nov. 22nd -ALSO- Artspace Gallery, Paris, France Jan. 5th 21st, ALSO-- VI Edizione Premio Open Art 2009, Sale del Bramante Piazza del Popolo, Rome, Italy. Jan., 16th- 18th ALSO-- Gallery Silver Brush, Helsinki Finland, ALSO-- International Competition Nude, Marquardt Gallery, Lodz, Poland Jan., 1st 31st, ALSO-- Asian Art Top Show 2009 Art Fair China World Trade Center, Beijing, China, Jan., 5th 11th ALSO-- Academy of Arts. & Design, Tsinghua University, Beijing, China, Jan., 7th 16th ALSO-- Gongwangfu (Palace of Prince Gong), Beijing, China, Nov., 2008 ALSO-- LATTDA Exhibition, Red Gate Gallery, London, UK Nov., 21st-26th, ALSO-- Gallery Gabrichidze, Brussels, Belgium Nov., 1st-30th-ALSO- Oct., 2008, Exhibited at the Royal West of England Academy 156th Autumn Exhibition, UK. -ALSO- Bankside Gallery Summer Exhibition 2009, London, UK -ALSO- Selected into the XXIX Gredos Prize for Painting, City Council of San Pedro Arenas, Avila, Spain-ALSO-Selected into the Art Buzz, the 2009 Collection, Art Buzz, USA.

ASCA OFFICERS
President Barbara Schiller Vice-President Raymond Weinstein Vice-President Raymond Shanfeld Vice-President Frank Mann Treasurer Allan Simpson Corresponding Secretary Imelda Cajipe Endaya Recording Secretary Lisa Robbins Social Secretary Olga Kitt Historian Frank Mann Board of Directors: Harriet Regina Marion, Elinore Bucholtz, Hank Rondina, Fred Terna
ASCA NEWSLETTER Publication Director Hank Rondina CONTRIBUTING WRITERS Harriet FeBland, Kenneth Lindsay, Hank Rondina, Amie Tatem-Araaya , Peter Vergo CONTRIBUTING PHOTOGRAPHERS Hank Rondina COPY DEADLINE FOR THE NEXT ISSUE March 15, 2009 Send your material to: Hank Rondina, 209 Lincoln Place, Eastchester, New York 10709; telephone (914) 793-1376; or email it to artist@hankrondina.com ASCA Newsletter is published 4 times a year. Copyright 2008 by ASCA Permission is required to reprint any portion of this Newsletter.

ANNETTE LIEBLEIN- received the Ersnt & Cecile

Holzinger Memorial Award at the 119th Association of Women Artists juried exhibition at Googleworks in Pennsylvania, ALSO-received 2nd Place for her monoprint "Peconic Bay" in the New Rochelle Open Juried Exhibi-

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