Newsletter 37 WINTER 2009-2010

8/6/2019 Newsletter 37 WINTER 2009-2010

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american society of contemporary artists NUMBER 37 WINTER 2009-2010

JANET INDICKRECEIVES SPECIAL

INTERNATIONAL RECOGNITION

Gallery and Studio--J. Sanders Eatom

From the works available for preview, "Password:Arts Secret Symbols," The 92nd Annual Art Exhibi-tion of the American Society of Contemporary Art-

ists, At Broome Street Gallery, 498 Broome St., from No-vember 10th to the 22nd, promises to be one of the moreinclusive and varied upcoming group shows of the cur-rent season.

The venerable artists organization boasts close to 100members and a good many of themcan be seen in this exhibition, thestated intention of which, to para-phrase the press release, is to as-sert the role of art as an affirmationof life in these times of global crisis.

One of the exhibiting artists, OlgaKitt exemplified this goal on thegrass roots neighborhood level byforming an alliance with young graf-

fiti artists while teaching art atDeWitt Clinton High School in theBronx. While Influencing some of the younger artists who paint on

canvas rather than in subway cars, Kitt found the influ-ence flowed both ways. A longtime gestural painter whohad studied with Hans Hoffman asa young woman, she came to re-gard graffiti as being in the tradi-tion of Abstract Expressionism andbegan to champion the cause of these kids, speaking out as anadult advocate on their behalf

against authorities who dismisstheir work as vandalism, thereby"banning a school of art," as putsit. Indeed, she came to identifywith them to the point whereshe now considers herself agraffiti artist, at least in spirit.

However, Kitt's "Flora," acrylicpainting on Tyvek (a plastic taupelin material), whichtranslates Rembrandt's famous portrait of his wife

Continued on page 2

THE BERGEN RECORD

Janet Indick of Teaneck, N.J. has received a SpecialRecognition Merit Awards for artwork inthe "7th Annual Color: Bold/Subtle Juried Online

International Art Exhibition" hosted by Upstream PeopleGallery. This international exhibition received approxi-mately 300 entries from around the world. The juror Laurence Bradshaw, Professor of Art at the University of Nebraska at Omaha, selected the fifty-eight finalists.

Professor Bradshaw states this about this speciallyrecognized work:―Janet Indick of Teaneck, New Jersey has a stimulatingconstruction of steel, wood and paint in her richly coloredpiece ―Santa Fe‖ with all the colors of the territory in NewMexico.‖

The exhibition will be featured online during December 2009 at www.upstreampeoplegallery.com and continuefor 12 months, closing November 30, 2010.

Janet states that "'As an artist and as a woman I re-spond to what is happening around me. Nature, art, ar-chitecture, music, history, the bible and current events

motivate me to create my paintings, sculpture and col-lages. Although abstract, my work is my artistic impres-sion or a reaction to events and extremes in nature. Thepiece ―Santa Fe‖ was created after a visit to that area,the colors of the wall sculpture relate to the colors that Isaw there. I used angled highly polished stainless steel,to reflect the images painted onto the wood to create akaleidoscopic color effect.

Artworks in all of the media that I work in, exhibit move-ment, color, energy, and symmetry. Like a choreogra-pher, I transformmy materials intoforms that interact

with one another creating uniqueart pieces thatviewers can ex-plore from manyprospectives toconnect their ex-periences withmine.'"

PASSWORD: THE ASCA'S 92NDANNUAL EXHIBITION

Olga Kitt"Flora"

Imelda Cajpe Endaya"Spoliarium and Agnes's

Carcass Cornucopia"



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PASSWORD: THE ASCA'S 92NDContinued from page 1

Saskia as the goddess of spring into an exuberant semi-abstract statement in line and color, appears as muchbeholden to Matisse as to urban graffiti.

While other works in this exhibition did not come withsuch elaborate "story," both speak eloquently for them-

selves. One does not even guess, for example, what thetitle of Imelda Cajpe Endaya's mixed media work"Spoliarium and Agnes's Carcass Cornucopia" couldpossibly mean. Suffice it to say, it's a rich visual melangeof form, color, texture, and disparate imagery, artfully

juxtaposing a partially obscured reproduction of a classi-cal painting, a silhouetted swan diving female figure, anda large serpentine shape ala vintage Rauschenberg, al-beit in Endaya's own unique manner.

Mina Myer, on the other hand,employs mixed media in an al-together more abstract manner in "ASCA Series II," wherein the

work's considerable visual/tactile appeal derives from theartists strong, roughly rectangleforms , ruggedly scumbled paintsurfaces, and elegantly raggedcollage technique. With tiny traces of brighter huesshowing through a palette dominated by subtly tinted off whites and earth tones, Myer' s forms float and moveagainst a solid gray field like ghostly monoliths.

The sculptor Barbara Browner Schiller's bronze figuressuggest more up the cousins of Alberto Giaometti's existentialstarvelings. For they are elon-gation comes across as lithe,

rather figure tableau, "After Glow." Here, once skinny char-acter leans on the shoulder of

the other in a configuration of relaxed, gangly limbs engag-ing for its

formal grace and levity.Isabel Shaw, on other hand, projects

a paired-essence of feminine sensual-ity in her bronze torso "Counterpoise,‖Its curvaceous contours Giving illusionof swaying sinuously in space. Twoother sculptors, both working in mar-

ble, adhere to a more minimalist aes-thetic.

Ray Shanfeld’s ‖Flight‖ presents astout, smoothly rounded form poisedupon its tall pedestal with a balloon-like buoyancy belies its formidable bulk.

While the vertical form of Ray Weinstein's "Nocturne#7" suggests a monkish robed figure, rather than sug-gesting an RSS the circular negative space in its "head"evokes the moon as a poetic phantom presence in themind of a contemplative slow.

Similar contrast can be seen in the work of two paint-ers of cityscapes. Anita Ale-man's street scenes shows themore intimate side of the city.Aleman's breezily brushed com-position "No Parking Anytime"touches upon the notion of privi-lege with the contrast sign

posted in front of an elegantedifice, rather than me at themod-

est brownstones down theblock. By contrast, like a 21stcentury counterpart of theAmerica Futurist Joseph Stella,Allan Simpson is attracted gphones mythic majesty. Simp-son' s precisely delineated silk-screen print "Night, Midtown" iswholly characteristic of hisstyle, with its illuminated sky-

scraper spires ended up win-dows glowing dynamically against a brilliant blue sky.Yet other complementary contrasts in the interpretation

of landscape subjects could be seen in the work of twofinal artists. Miriam Wills combines elements of Neo-

Expressionism in her acrylic abstrac-tion "The Sun Behind," with its lumi-nous primary colors and outlinedshard-like shapes. Sachie Hayashi,on the other hand, takes a lyrical ap-proach to nature in her mixed mediacomposition "Here Comes the Morn-ing," where luminous pink and yellowhues ignite verdant green mountain

peaks.If the

artists re-viewed

here are representative of themany others to be seen in theASCA's 92nd Annual, this isan exhibition not to be missed.

Mina Myer ―ASCA Series II ‖

Barbara Browner Schiller ―Afterglow‖

Isabel Shaw"Counterpoise‖

Ray Shanfeld―Flight‖

Ray Weinstein―Nocturne #7‖

Anita Adelman―No Parking Anytime‖

Miriam Wills"The Sun Behind,"

Sachie Hayashi"Here Comes the Morning,"

Allan Simpson"Night, Midtown"



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is interesting to note that Manet, Monet, and Renoir worked for a time under the guidance of teachers of theEcole des Beaux-Arts, such as Couture, Gleyre, andSignol.5 However, none of the members of the"Batignolles group,‖6 as the Impressionists were to becalled, favor the concept of line over color put flowed instrictly observed by Ingres. They were drawn, instead, tothe "imagination and vitality, passion for action and color,

as a keen interest in all manifestations of life"7

illustratedby Delacroix. He was to have a decided influence uponthe Impressionist movement as a whole.

While Ingres and Delacroix debated the concepts of line vs. color, the artist of contemporary Courbet brokewith tradition altogether. As an individual, Courbet identi-fied with the common folk. This painting, The StoneBrakers, exhibited in 1849, illustrates spell mode Cour-bet's preference for natural realism over the search for the ideal in man And nature as championed by anger Ingres and the Academy.8 There is no escaping the real-ity of the age in this genre scene. Courbet himself was"a man of the people in origin and a socialist in politics."9

the express readily his philoso-phy that "it was the duty of mod-ern artists to rely on their directexperience."10moreover, heused a simple statement to il-lustrate his viewpoint: "I cannotpaint an angel because thennever seen one.11 The StoneBrakers is not sentimental, nor does it below qualities of the individual nature or personalities of his models.Courbet intended, rather, to render at once a "'slice of life' and a symbol of social injustice."12 It was this idea,the pain from nature and life what the eye actually sees,that became one of the basic tenants held sacred by the

Impressionists, especially Manet.13 It can be said,therefore, that both the naturalism of Courbet and thepalette of Delacroix were two major forces which her-alded and encouraged the Impressionist movement.Another important influence upon the Impressionists wasthe school of painters known as the Barbizon, whosemembers specialize in landscape painting and who wereprimarily out of doors.14 Rousseau, Diaz, Corot,Daubigny, Millet and Jacque were Barbizon artists whowas soon joined in the woods by the young Impression-ists Manet and Renoir. These artists left the studio andsaw a closer interaction with nature.15 This interactionhelped the Impressionist artists to develop the vision

necessary to capture what Baudelaire once called "thetransitory, the fleeting, the incidental, one half of art,whose other half is the eternal and immutable."16

Baudelaire, himself, major poet and art critic of the19th century, was to play a major role in navigating therocky course which led from Romanticism to the morerealistic, detached appraisal of modern, everyday life ashe poked in Impressionist art. "All independent-mindedartists embraced the "modern aesthetic" of Baudelaire,who urged them to open their eyes to the contemporary

(Continued on page 4)

"COLOR AS AN EVOCATIVE FORCE INTHE ART OF THE IMPRESSIONISTS"

From the editor When was the last time you looked at or even read your art

history term papers. Wouldn't it be great if they could be"published?" Well, this newsletter would be a perfect vehicle to

"publish" those forgotten papers.So, if you are interested in having one of your art history term

papers "published" in this newsletter, then please send me aXerox copy or if you were fortunate enough to type it on a com-puter you can send it as an e-mail attachment.

The following is a paper written in July, 1976."Color as an evocative force In the

Art of the Impressionists"

It can be said painting is very much like a poem. Thepoet, just like the artist, may either reflect on the pastand rely on classical themes and historical situations,

thus glorifying the deeds of mythological and legendarycharacters, or he can depict realistically man's struggleagainst nature and destiny. Other poets may choose,

rather, to let the structure, sound and juxtaposition of words themselves convey meaning and evoke feeling.Words out of poetry as colors are to painting, and eachartist may choose to use his tools in a manner which re-flects his personal training, style and philosophy. TheImpressionists chose to forsake line for color and madelight and color, rather than form, the dominating forces intheir paintings. A close study of the development of Im-pressionism and the artists who rallied its cause will ex-pose the evocative results of their art and the exhilarativeeffect their use of color and light had upon future genera-tions of artists and patrons.

It is impossible, however, to fully understand and ap-

preciate the development of the Impressionist movementwithout first investigating the social and artistic climatefrom which the Impressionists spirit evolved. The Ro-mantic movement in the first half of the 19th century wasone in which the artist was free to return to the themes of literature past and present. The movement had becomea rebellion against the "artificiality" of the Baroque period.It meant the rebirth of the "academic" style and"Poussiniste" principle of line.¹ More importantly, how-ever, the movement was strongly controlled and manipu-lated in France by the Academy of Fine Arts, "one of thesections of the Institute de France, which despoticallygoverned the arts in France. From its members were

chosen the teachers at the Ecole des Beaux-Arts and thedirectors of the French Academy in Rome, that is, thoseentrusted education of new generations."² One of theforemost members and teachers in the Academy, whosepolicy strongly reflected the philosophy of David, wasIngres.³ In his teaching, Ingres stressed "the superiorityof line over color, a statement which led his followers toregard paintings merely as colored drawings, And to con-sider as 'badly drawn' the landscapes of Corot or thecompositions of Delacroix because, in these, every ob-

ject was not carefully delineated by a minute contour."4 It

“The Stone Brakers”



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scene, to paint the life being lived around them in cityand country."17This "modern aesthetic" call for a redefini-tion of art and of the function of the artist. Impressionismdedicated itself to the phenomenon of visual experience,and therefore, it followed that color would have to domi-nate line.18 It Is Interesting to note that the artists of theperiod often use the work of Chevreul entitled The Princi-ples Of Harmony and Contrast Of Color as a guide and

source of reference. Included in Chevruel's work is infor-mation concerning the optical effects of color or the im-pression one proceeds when colors are mixed by theeye.19 Art must now be free from the rains of convention.It would be necessary to separate it from the traditional.This aesthetic entity had to become a product of its time

just as the Renaissance was a product of its time. It be-came necessary to cultivate a more objective attituderelative to art, hence the phrase "l'art pour l'art,‖ art for art's sake. 20 Heretofore, art was a product of the subjec-tiveness of the Salon. The artist of the Impressionist pe-riod had to pursue not a practical art which was pleasingto the masters of the former period, but an art devoid of

practical, social, political or material interference. Theprimary function of the Impressionist artists, therefore,would be to capture on canvas the visualexperience of the moment.

Edouard Manet was soon to fulfill thedoctrine of the "modern aesthetic" and tobecome the "peintre de la vie moderne‖that Baudelaire had demanded.21 in 1866,eight years before the Sal on was defied bythe artists of the new movement, Manetcompleted his painting, The Fifer.Although the painting was criticized as be-ing flashed by Courbet, the quality of thework and the use of color was quite revolu-

tionary. Manet was attracted by color, and he believedthat line was not indigenous to nature.22 when one viewsThe Fifer, one is immediately affected by the artists useof bold, flat color. The red, almost shadowless trousersradiate a warmth as a result of the use of black stripes.The gray background is a mixture of a pair of comple-mentary colors, namely red and green, with a mixture of white. The result is a red/green gray. The backgroundappears greener because when red (the trousers) isplaced upon a gray background, the gray will be tingedwith green, the complement of red. Ray will always betinged with the complement of the color laid upon the. Itis not known whether Manet at this effect in mind, if one

can safely say in addition to treating his canvas is a win-dow, but as a screen, the artist has achieved an"equilibrium in the eye," thereby satisfying one of the

phenomena of visual percep-tion.23

Fifteen years after thecompletion of The Fifer, Manetcompleted Artist Garden in Ver-sailles. It was painted of thetime when Manet was in bad

health and was restricted to

the utilization of small canvases.24 He began to make hisobservations of the effect of light, the qualities of whichattracted the Impressionists. The result was a painterlycomposition done in a complementary color harmony.The colors used are not unlike those employed 15 yearsprior In The Fifer. However, the pigments have been ap-plied swiftly and thickly, as evidenced by the brushstroke.The composition has been saturated with your green.

Manet then adds the shapes of red roses. The result isthe illusion of space created by placing one complemen-tary color contiguously upon another. The red roses now.To be supported not by stems as they are in nature, but,more importantly by the green surface. The garden pathhas been rendered with a yellow mixed with red andgreen, thereby creating a composition which invites theobserver to sit on the bench and bathe in the splendor of this garden. The invitation has been evoked as a resultof the powers of color and its use and application.

While many of the Impressionists concern them-selves with the effect of spectral light in nature, Degasworked primarily with artificial light and rendered indoor

scenes. One might think that since Dégas did not con-cern himself with nature and painting "au plein air‖ hewould not be considered a colorist. On the contrary,Dégas' palette prove to be "bright, luminous and vi-brant,25 was "a colorist with line."26 As for subject matter,Dégas often chose the ballet and made frequent visits tothe opera in order to observe the young pupils known as"rats" engaged in the learning process.27 Painting thescenes from the ballet, Dégas demonstrated the effectsof artificial light reflecting above and below his subject.For example, in L' Etoile, painted in 1878.28 The dancer is viewed near the front of the stage, as evidenced by theglowof ligh t emanating from the left of the painting. Sheis frozen in motion, as if she is the subject of the photo-

graph. However, Dégas has evoked movement and in-stilled life in his use of color. One notes, for example, thesubtle changes in the yellow of the dancer' s dress,changes which allow the eye of the observer to almostfeel the flashing spin of the dancer and to actually seeher complete the step. Dégas has worked this magic bymixing his medium from shadow to light, beginning at therear of the dancer. Moreover, the color yellow used inthe dancer's dress radiates "a spiritual warmth.‖29

The expressive quality and evocative powers of color are naturally not restricted to pleasant impressions.One need only a few Dégas' Melancholy, painted in oilscirca 1874,30 to fully grasp this artist's masterful use of

the palette. At first glance, the subject, a woman, ap-pears to be in physical pain. However, as one continuesto study her, one realizes her pain is not physical butemotional. Dégas has evoked a feeling of depressionand melancholy to his use of color. The woman's dresshas been painted with a somber mixture of red andgreen. The dress is not the focal point of the painting.The face of the woman imparts the real emotion, not as aresult of her drawn features, but more importantly, as aresult of the addition of a slight greenish tint to the lightemanating from the left of the painting and coming to rest

“ The Fifer”

“Artist Garden in Versailles”.



5

on her shawl. The result is a cold,sickly, depressive quality. In addition,Dégas has employed a dark accentfollowing the contour of the face, whichadds even greater anguish to the sub-

ject.Just as Dégas evoked movement

and mood with his choice, use, place-

ment in application of color, so too,Camille Pissarro, "loyal supporter of theImpressionist movement"31 an avid ad-

mirer of Corot, used his palette way that "vitalized thepicture-surface with a light, aerial hint of stir and anima-tion that produced an "atmosphere" less dense, less de-pendent on the fixity of the motif."32 This creation of "atmosphere" in the effects of light upon a wet surfacecan be observed in Pissarro's work entitled, The Dili-gence At Louveciennes, painted in 1870.33 One canalmost up into the wet, muddy-filled roadway and feel thedamp autumn air. The artist has applied small deaths of paint contiguously, thereby producing the "cleaning pat-

terns of light and shadow."

34

Apervasive feeling of melan-choly is conveyed by the art-ist's use of grays andbrowns.35 The viewer alsonotes the horses laboring inthe mud and then is attractedby the activity of the green hueto the right. The opposite sideof the road does not have this attraction because thecolors are muted and passive. One might say that Pis-sarro has even pose a problem to the viewer of thispainting, namely, how to avoid wading through the mudto seek the comfort of the coach house. He supplies a

solution in this way: the artist slowly alters the brillianceof the green and the juxtaposed orange hue, a modifica-tion which seems to make the walk recede to the back-ground. The artist has supplied a lighter, but less con-centrated mixture of green at a right angle to the coachhouse, wherein lies warmth and shelter.

Snow At Lower Nor-wood, painted in 1870,36

evokes yet another seasonand mood. In this painting,Pissarro portrays a winter' sday coming to a gradualclose, soon to be extin-

guished by the color- lessnight. The sense of time of day, namely dusk, is af-

fected by capturing the light of the hour, probably as aresult of the artist' s observations of the natural light of the hour upon the subjects in the painting. He abandonsthe color black and has chosen, instead, to mix comple-mentary colors in order to render the darkened areas.Pissarro's use of primary colors in this painting permitsthe viewer to almost breathe a crisp, cold air. The depic-tion of the sky in the use of a yellow hue throughout may

symbolize the hope and birth of the coming day and sea-son.

Alfred Sisley, just like Pissarro, devoted attention towinter landscapes and the effects of shadows cast uponthe snow.37 While Pissarro was painting Snow at Lower Norwood in England, Sisley was in France completingEarly Snow At Louveciennes,38 One might question theimpressionists' need to paint a season which symbolizes,

for some, lifelessness and which, seemingly, imposescolor restrictions. It should be remembered that the Im-pressionists also concern themselves with the study of shadows produced from the forms in nature. Winter,therefore, was a perfect time of year to make these ob-servations, since shadows would be cast on the whitesurface. The Impressionists discovered, for example,that the shadows appearing on the white surface wouldassume the colors in "the atmosphere and by the objectthat barred the light.39 In Early Snow At Louveciennes,Sisley executes this painting with this belief in mind. The

patches of snow in the fore-ground reflect the blue of

the sky. At the left side of the painting, adjacent to thefence, the color of the snowhas interacted with the darkfence and has assumed thereflection of color utilized.One begins to know that

touch of red in the snow andreads it as a rendered shadow of a tree. Moving further back towards the first building, the artist suggests a roadto the secluded house. He achieves his suggestion byallowing natural light of day to pass across the road ontoa figure and out onto the frozen snow at the left side of the painting. This portion of the painting again assimi-

lates a red tinge. Moreover, it appears that blue hasbeen added. The landscape than recedes a gentle curvedown the hill. The observer is fully aware that the paint-ing depicts an early snow as evidenced by the green foli-age throughout. Yet, one cannot escape the fact thatone is also experiencing a cold winter air, which Sisleydid, no doubt, feel while painting his landscape. Thefeeling of a winter's day is evoked as a result of the useof a "cold - warm color contrast."40 "This cold-warm con-trast suggests nearness and distance,"41 the nearestbeing implied in the warmly organic hues of the road andthe distance being imparted via the cool pigment used inthe receiving sky and hazy effect of the tree line. How-

ever, the dominant portion of the painting is the contrastof light and dark, as evidenced by the snow and its sur-roundings. Once contrast of color has been achieved ina painting, the result is not only a painting of an impres-sion, but I painting consisting of the atmospheric condi-tions of the moment. In Early Snow At Louveciennes,42 Sisley has achieved what is known as painting the air.

Continued in Spring IssueFootnotes and bibliography

on request

L' Etoile

“ Melancholy ”

“ Diligence At Louveciennes”

“ Snow At Lower Norwood”



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ASCA ART GALLERY

The ASCA ART GALLERY presents examples of artby 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 titleof your work, the medium, and an arrow showing whichside is UP. Mail your photos to Hank Rondina, 209 Lin-coln Place, Eastchester, New York 10709, or e-mail your

jpegs to [email protected]

Linda Butti―Winter Tree‖



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Judy de Zanger "Moment in Time"



8

The Tao of CreativityWritten by Judith and Andre de Zanger

NO NEED TO GO OUTSIDEWithout going outside,

Or gazing from a window,One may see the light.The further the traveler goes,The less they may see,And the less they may know.Travel in your heart for guidance,So you will know which turns are wise.Remain at the core of your being,So you arrive without traveling,See without looking,Do without striving,And understand without knowing.

FROM WONDER TO WONDERThat which can be named,Is not the Tao.Creativity, like the Tao,Cannot be expressed,Through words alone.In the beginning, there were no words,Yet Heaven and Earth arose,Then words were created,And naming gave rise,To the separate parts of the whole.What is named,Are the manifestations of creativity,

What is nameless,Is the mysterious source of it all.Filled with desire,A person may see only the manifestations,Empty of desire, They may experience the source.Whoever solves this mystery,No longer needs a name.But if a name be needed,Wonder could be used,From wonder to wonder,Creativity grows.

We need volunteers to help continue the survival of our ASCA Newsletter. We welcome art-relatedarticles, reviews of exhibitions and your upcom-

ing shows.

Send your material to:Hank Rondina

209 Lincoln Place,Eastchester, New York 10709;

Telephone (914) 793-1376;or email it to [email protected]

THE TAO OF CREATIVITYJUDITH AND ANDRE DE ZANGER

ASCA OFFICERSPresident Barbara Schiller

President-Emeritus Harriet FeBlandVice-President Raymond WeinsteinVice-President Raymond ShanfeldVice-President Frank Mann

Treasurer Allan Simpson

Recording Secretary Imelda Cajipe EndayaCorresponding Secretary Lisa Robbins

Social Secretary Olga KittHistorian Frank Mann

Board of Directors: Harriet Regina Marion,Elinore Bucholtz, Hank Rondina, Fred Terna

ASCA NEWSLETTER Publication Director Hank Rondina

CONTRIBUTING WRITERSAndre and Judy de Zanger

Hank Rondina, J. Sanders Eatom Gallery and Studio

CONTRIBUTING PHOTOGRAPHERS

Hank Rondina

COPY DEADLINE FOR THE NEXT ISSUEMARCH 15, 2010

Send your material to:Hank Rondina, 209 Lincoln Place,

Eastchester, New York 10709; Telephone (914) 793-1376;or email it to [email protected]

ASCA Newsletter is published 4 times a year.Copyright ©2009 by ASCA Permission is required to reprint any por-

tion of this newsletter.

MEMBERSHIP NEWS

Linda Butti—Kingsborough Community( CUNY) Faculty Ex-hibit, Nov. 9 Art Lab Faculty Exhibit, Snug Harbor Cultural Cen-ter, SI, Dec. 9 "Winter Tree" (see gallery) cover art for the ArtLab Brochure, Winter Schedule St. John's University, Centen-nial Exhibition, Oct. 9

Marcia Bernstein—

"Expressions 2010," Women In the Arts.At the Lafayette Grill, NYC, Jan. 9 Feb. 12, 2010 –ALSO-"Trashformations - A Selection of Art from Detritus" at the Sa-bay Thai Restaurant, Elmhurst, NY Dec. 2009 & Jan. 2010.

Elinore Bucholtz-Art Students League CONCUR. Jan.11

Mon. — Jan. 15 Sat. 2010 New York, — ALSO — International

Contemporary Masters 2010 at the Museum of Southern Ne-

vada from April 17—June 5 —ALSO—SOLO exhibit April 10 —

May 29, Plantation, Fl.

María de Echevarría- Solo show ―The Colors of Music” at

the Consulate of Argentina 12 West 56th St. NYC April 8th -

29th of 2010 Reception: April 8th- 6-8 pm, and open to the

public. For more information: 212-603-0440

Rose Sigal Ibsen- Exhibiting in the 2009 International Sumi-

E Brush Painting Contest and Exhibition December 2-7 Munici-

pal Museum of Fine Art, Osaka, Japan -- ALSO -- Jan. 10-18,

2010 Tokyo Metropolitan Art Museum, Tokyo, Japan-- ALSO --

April, 2010 Kyoto Municipal Museum Of Art, Kyoto, Japan

mailto:[email protected]

mailto:[email protected]

Documents

Newsletter 37 WINTER 2009-2010