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american society of contemporary artists

NUMBER 34 SPRING 2009

HARRIET FEBLAND
Dr. Jose Manuel Rodeiro: Coordinator of Art History, New Jersey City University.

MARIA de ECHEVARRIA: NEW ASCA MEMBER


Peace, Energy and Beauty (Online Interview)

ASCAs

former twice elected President Harriet FeBland, President Emeritus, was the recent honored recipient of the Featured Artist Prize by the Agnes K. Haverly Foundation. Honors included a published, funded and sponsored new 12 page color brochure of her career and work along with the remastered digitalized DVD of the 1986 video film they produced for TV. They state: The Agnes K. Haverly Foundation fosters awareness, appreciation and understanding of exceptional art of American masters who are not necessarily nationally known. We have followed Harriet FeBlands career of sculpture, paintings and graphics since the 1960s, a time when women artists were not welcome into the mainstream, and we are happy to rerelease the DVD due to the artists and films continued popularity, along with a new publication of her recent works. The following is the article included in the publication, written by Dr. Jose Manuel Rodeiro, Coordinator of Art History, New Jersey City University.

rgentine-born painter Maria de Echevarria discusses her inspirations, achievements and quest for self-knowledge with Everything Art. Name, birth date and city of residence. Maria de Echevarra. I Under Construction was born in Buenos AiMixed media res, Argentina, on September 8, 1944. In 1969 I moved to the United States and I currently live in the N.Y.C. area. Define your approach to art. It's the way to fulfill my need to create peace, energy and beauty. What was your first artistic inspiration? Some conifer trees that two of my cousins painted. I must have been 10 years old and they were a little older. I admired them for that and I considered myself unable to do the same. What or who inspires you today? Why? The inspiration comes from different sources: natural landscapes, the arrangements of lines and colors in commercial ads and photos and the patterns created by the weather in the streets. They inspired me because of their beauty, which is sometimes unusual. Lately, more and more I feel inspired by the silence inside of me. This silence probably puts me in contact with the creative dynamo that lodges in us. Sometimes, with the silence comes a feeling of being that transcends my own life. What's your proudest artistic achievement?
See de Echevarra page 2

or over 50 years, in both her 2-D and 3-D works, Harriet FeBland has maintained an unwavering commitment to geometric-abstraction, finding in geometry intimations of sublime aesthetic beauty; wherein triangles, squares, rectangles, straight lines and recurrent patterns furnish aesthetic insights that reveal harmonious universal structures and symbols. When viewing her work, one is reminded of the maxim above the main-door of Platos Athenian Academy, Let no one untrained in geometry enter. Like Plato, FeBland utilizes geometry as a tool for exploring universal concepts, e.g., infinity, symmetry, and rhythm. For instance, in her compositions, straight lines play crucial aesthetic roles, delineating spatial relationships between shapes and forms. For the sake of artistic purity, she disregards all unessential concerns, e.g., subjects, narratives, figures and mimetic elements. With precision, FeBland articulates each line, shape, and
See FeBland, page2

FeBland, Continued from pate 1

de Echevarra, Continued from page 1

form. A case in point is the painting Sienese Landscape with its effusion of radiant light via repeated jagged bands of undulating perpendicular prismatic patterns, evoking the Sienese Landscape graceful 13th Century geometric-motif of Giovanni Pisanos Siena Cathedral facade. Her geometric patterns are infused with kinetic, refracted, and prismatic hues, by circumspect repetition of these elements; a sense of infinity is generated. Through the course of here long career, she has created many significant innovations in sculpture, painting, graphics and mixed-media, including her early experiments (in the 1960s) with Plexiglas, plastic, light and electronic-works. Due to her pioneering and ingenious use of science, mathematics, and geometry as key aesthetic elements in her graphics, painting, sculpture, mixed-media work, tapestries and new media experiments, she is truly a Renaissance artist, who has mastered sundry artistic disciplines. FeBland was born in New York City, as a child, she attended Pratt Institutes Saturday-program for children,, the American Artists School, as well as the New School for Social Research, learning from such luminaries as Raphael Soyer, Chaim Gross, Stuart Davis, Kuniyoshi, Will Barnett, and Harry Sternberg. As a young artist, she pursued academic training at Pratt Institute, the Arts Students League, and New York University. Then for over a decade, she lived and studied in England and France. Eventually, she began to reject her academic training, deeming it dogmatic. Crucial to her break with academic-dogma was her exploration of printmaking at Stanley Hayters Atelier 17 in Paris, where she studied etching and simultaneouscolor printing, eventually experimenting with monotypes, as well as Japanese moku-hanga technique. Searching for a new direction in the early 1960s, she explored visual arts primordial abstract-totemic roots, which inspired her fascination with geometry. Her new geometric subjects required new materials, manifesting in her breakthrough exhibition entitled, Plastic in Art at the Galerie International, NYC, which led to her inclusion in Thelma Newmans definitive text Plastic as an Art Form (Clinton Press, 1963). Since that critical success, she has exhibited at the Musee dArt Moderne, Paris; Carnegie Institute, Pittsburgh; the Brooklyn Museum, NYC; Katonah Museum, NY; The National Association of Women Artists, NYC and MoMA, NYC.
See FeBland, page 5

A solo exhibit at the United Nations Headquarters in New York in February 1998. What are your work habits like? In general, I work better in the morning and during the day than at night. Classical and pop music help the process of creating, but the decisive factor is contact with my inner self. What's the worst thing anyone ever said about your work? "I went to see your exhibit, but I like more realistic paintings." What's the best thing anyone ever said about your work? After one of my shows I received this e-mail: "Thank you for the beautiful and spiritual paintings I saw yesterday. The subtle colors and shapes! To me, the feminine, gentle, mysterious and sensual essence of the universe are present in your paintings. I was so inspired that I felt like starting to paint right there..." What is the best advice you were ever given? Breathe deeply. Who are your influences? Because their art moves me so much, they must be Georgia O'Keeffe, Mark Rothko and Van Gogh. Probably I can't escape a non-intentional influence from them. If you could meet any artist past or present who would you like to meet and what would you talk about? The abstract expressionist Mark Rothko, and we'd talk about the most intriguing aspect of life: what we can't see with our physical eyes. I think this pervades his greatest paintings. What bothers you the most about the art/design industry nowadays? The fact that it's not sensitive enough to some new and not-so-new good artists. How do you see the art scene in ten years? I'm optimistic that the Internet will continue to expand the exposure of the arts among the people as well as expand the art market. Who is the most exciting artist working today? Why? I have at least three in mind: the Spaniard Santiago Carbonell, the Argentinean Norma Bessouet and the Japanese Shima Yoshida. The three of them convey an unusual beauty and have impeccable technique. How would your life change if money were no object?
See de Echevarra, page 3

de Echevarra, Continued from page 2

I don't foresee any substantial change. What's been the biggest challenge you have encountered in your career? The lack of knowledge about myself. That's why it took me so long to realize my passion for painting. Do artists have responsibilities? What are yours? I cannot answer for other artists, but in my case I feel I have to produce my best possible art. How would you like to be remembered 100 years from now? If such a thing happens, I'd like to be remembered as an artist who put the viewer in contact with an intangible reality.

STEVE ERENBERG: NEW ASCA MEMBER


teve Erenberg's life, both personal and professional, has always revolved around art. He comes from an architectural and design background, and started his career by working for the famous industrial designer, Raymond Lowy. Erenberg has works in many different media and has shown his work in a number of different galleries, including the Hudson River Gallery in Westchester, the Vorpal Gallery in Greenwich Village, Katonah Village Gallery, and The Flatiron Gallery in Peekskill. Among his many credentials are one-man shows at the Croton-on-Hudson Library, an exhibition at the celebrated Black Cow and paintings that are now in the permanent collection of the National Arts Club in Gramercy Park. In addition to painting, he sculpts in bronze and his masks are in private collections in Japan and throughout the United States. Professionally, he has worked with the architect Philip Johnson and is responsible for Donald Trumps landmark globe at Columbus Circle as well as the recipient of hundreds of graphic design awards including Clios and Best in Shows. He has achieved editorial recognition in The New York Times as well as many graphics publications, and is Senior Vice President and Creative Director of Pace Advertising in New York. A well-known dealer and collector of early technology, he specializes in what he terms "Industrial Anatomy and can be found at his website radio-guy.com. "Entomechanica" is the premiere of a new series, a collection of larger than life watercolors of a variety of different insects. First, Erenberg plots and scales a grid that will form the substructure of the work. The next "layer" is a detailed painting on top of which he re-plots and brings to the surface the geometry and architecture of the bug. This layering grants us a glimpse into the artistic process. We can see the artist at work. The paintings have a poster-like quality. While they look realistic they are by no means, as Erenberg is quick to point out, scientifically accurate, but simply his interpretation of their color and form. Why bugs, you might ask? The answer elicits a multitude of responses from the artist. The creatures infinite variety tops the list. He goes on to enumerate their vivid coloring, their iridescence, their mechanics, their contrasts, and their symmetry. "They take so many different shapes and forms," says Erenberg, "They're highly specialized, many are really bizarre, and theyre so machinelike." Its the mechanics, which appeal most to the artist, who never paints his bugs walking or flying or buzzing.
See Erenberg, page 9

BONNIE ROTHCHILD: NEW ASCA MEMBER

onnie Rothchild is a sculptor based in Manhattan. She was born in Brooklyn and grew up surrounded by her grandfathers paintings and frequently visited the Brooklyn Museums Greek and Roman sculpture galleries. In addition, Bonnie has traveled to and has been influenced by the art of South East Asia, Africa, and the South Pacific. In April 2007 she won first prize in the Pen and Brush 61st Annual Sculpture Exhibition, and in May 2007, she was one of the winners of the Manhattan Arts International 24th Anniversary competition, which featured one of her sculptures in its online exhibition. She has studied with Chaim Gross, Bruno Lucchesi, Paul Lucchesi and Nigel Konstam in New York City and in Tuscany, Italy.

MINUTES OF THE ASCA GENERAL MEMBERSHIP MEETING


MEMBERS PRESENT: Bobby Schiller, President Harriet Regina Marion,Allan Simpson,Doris Wyman,Hedy OBeil,Imelda Cajipe Endaya,Raymond Weinstein, Miriam Wells,Hank Rondina,Ray Shanfeld,Alain Roland,Harriet FeBland,Jessica Iwamoto, Sueyoshi Iwamoto,Nancy Dunn,Olga Kitt, Estele Levy,Rose Sigal Ibsen,Marie Mutz MEETING CAME TO ORDER: Bobby Schiller called the meeting to order at 2 pm. 1. WELCOME AND THANK YOU: Bobby thanked everyone for coming, and thanked the gallery manager of the New Art Center for the use of his space. She enumerated the following topics for discussion: gallery tour and introduction, treasurers report, membership, CD book, Broome Street Gallery, committee meetings, data on checks and invoices. 2. GALLERY TOUR: The gallery director gave a brief orientation on the New Art Center space, and the Contemporary Art Network, which is a membership-based organization for exhibiting, marketing, promoting contemporary art. Members could tour by themselves after the meeting. 3. FINANCE: Allan Simpson, the treasurer, reported that to date, forty members have paid their annual dues of $95 each. He deposited $3,215 in the checking account. Current balance available in savings account is $6,229. Bobby mentioned that ASCA has $11,000 in Certificates of Deposits, and said it would be wise to keep the money that way, using only the interest. She asked Harriet FeBland whether ASCA has other accounts, and Harriet said that that information would have been known by Joe Lebrano. Bobby said that there are outstanding bills and reimbursables which still have to be deducted from the preceding report . 4. MEMBERSHIP: Ray Weinstein reported that eleven new members were accepted within the past year and a half and that by this months end, there will be six applicants to be juried. Bobby informed the body that there are currently sixty-five to seventy members in the list. Members called attention to the fact that some mailed and e-mailed notices were not received. Bobby stated that some older members had not paid their annual membership fees in 2008 and in 2009; letters mailed have been returned. She asked if these members should be removed from the list. It turned out that two have been very ill and one has been out of state and are within contact; Doris Wyman volun-

teered to call them to follow up. Robert Fabian has passed away. It was noted that there is a discrepancy between the application form in hardcopy and the application form on the website. The hardcopy is more updated, and requires images in CD. The one in the web requires 35 mm slides or transparencies. It was decided that all members update their files with CDs. To save on postage, slides on file will be returned on the next meeting. Those who want their slides mailed back should first send in SASE padded envelopes. Bobby distributed copies of the new 3-fold membership brochure, which is a call for artists of quality. It was designed and produced by Isabel Shaw, with text written by Frank Mann. Members admired and were grateful for their work. Bobby said that the 2009 membership list and data would be updated soon, in coordination with Allan Simpson. 5. CD BOOK Jeremy Comins, who informed ASCA about todays opportunity to meet at New Art Center, is putting together everyones work in the ASCA CD for this purpose. Those who have not yet mailed their single image on CD are requested to do so at this address: Jeremy Comins.1776 East 19th St. , Brooklyn, NY 11229 The CD book will be submitted to museums, such as the Hammond Museum, as suggested by Bobby and the Queens Museum of Art, as suggested by Harriet FeBland. 6. ASCA 91st ANNUAL EXHIBIT AT THE BROOME ST. GALLERY The forthcoming annual needs a theme and an open title. Jurors prefer exhibitions with a theme. Harriet Marion volunteered to be in charge of the receiving committee. Volunteers are also needed for writing press releases and distribution to media; Olga Kitt, the social secretary will oversee this. Gallery-sitters are needed during the exhibition period; some members signed up. We need a design for the postcard invitation. Incidentally, Bobby acknowledged and thanked Harriet Marion for her beautiful design for last years postcard invitation. The reserved dates for exhibition at Broome Street Gallery are November 9- 22, 2009. Delivery date is November 9. - Reception is November 14. Details will be announced in the prospects. 7. OTHER SUGGESTIONS Some activities were suggested in relation to the annual exhibition at Broome St. Gallery: We could hold artists talks and critiquing sessions at the gallery during the annual art exhibition. Another idea was that this could also be done outside of the annual exhibition. Featured Artists: Two names can be picked out from a basket. These two artists works will occupy the front section of the gallery. Their names will however not be

included in the basket for the next five years. It is better to have a salon type of exhibit where artists, not curators choose their work. 8. ASCA AWARDS In relation to the annual exhibition, the matter of awards came up as an issue. Doris Wyman, chair of the Prizes Committee, reported that Jeremy Comins (who is unable to attend this meeting) wishes to air his vehement objection to ASCA giving out awards and prizes. ASCA awards are being given in the names of persons being honored. Doris clarified that Jeremy is himself a multi-awarded sculptor, and has long been with ASCA for years; his father having been an ASCA member too. A lively discussion ensued. 8.1 Jeremys objections are: Plaques, awards, and monies only serve to split the group into a competition. It is better to have a salon type of exhibit where artists, not curators, choose their work. 8.2 Those who seemed to agree with Jeremys objections added: a. In time of economic downturn, ASCA should not give prize monies. b. ASCA has not become friendlier, more cohesive, nor multi-level sharing. c. Will members submit lesser works without competition and awards? d. Whats the use of getting jurors from museums? Did we ever get our members work acquired or exhibited in their museums? 8.3 Those in favor of awards countered: a. In time of economic downturn, the more ASCA should give artists prize money. b. Without awards, ASCA could loose membership. c. In the ASCA annual, members themselves choose their own work to be exhibited. d. The idea of jurying is for museum curators---such as from Guggenheim, MOMA, Whitney, to get to see ASCA artists works, which otherwise they may not ever see at all. We try to get jurors with different kinds of ideas and viewpoints. e. Members do not really feel competitive; each respects each others individuality. f. Is the objection about the money or the certificate? g. Artists are subjective; jurors are objective. h. Recognition is incentive to produce something for jurors to see. i. Awards and money add to the excitement of the annual exhibition. j. Bobby wrapped up this discussion by asking members to submit their objective comments in a list of pros and cons, by mail or e-mail. 9. FUNDRAISING Harriet FeBland reminded that fundraising is an

important and continuing concern of the organization, in order that ASCA can pay for venues of exhibition, and to get the organization into the media. Gerda Roze is chair of fundraising. 10. NEXT NEWSLETTER Bobby reminded everyone about their submission of articles, events, and images for the next newsletter to Hank Rondina. Hedy OBeil will write about an artist who is famous and whom we admire. Olga Kitt will write about the Studio School. 11. EXHIBITION PROSPECTS a. Imelda announced that as part of the call for ASCA members cluster exhibits, she has tentatively arranged for a joint juried exhibition with the Society of Philippine American Artists (SPAA) at the Philippine Consulate at 556 Fifth Avenue. The celebration of Womens History Month, to be held March 15-26, 2010. Members who expressed interest were: Bobby Schiller, Rose Ibsen, Estelle Levy, Doris Wyman, and Olga Kitt. b. Bobby announced that there is an open call for New York artists two-dimensional work at the website of the National Public Radio. Go to www.wnyc.org/ Green Space. Applications are done on line. Minutes are hereby respectfully submitted by: Imelda Cajipe Endaya, Secretary. Approved: Bobby Schiller, President.

FeBland, Continued from page 2

In 1962, she started the Harriet FeBland Art Workshop, a school for advanced painters in Westchester and New York City, which she directed until 1993. Her work is collected by PepsiCo, NY, Cincinnati Art Museum, The Library of Congress, Zimmerli Art Museum, Smithsonian Institute, Grounds-for-Sculpture, Hudson River Museum, as well as other major collections. With over 55 solo exhibitions since the 1950s, as well as being documented in scores of books and critically reviewed in hundreds of periodicals. FeBland has served as President of the American Society of Contemporary Artists. Legendary art critic, Paul Mocsanyi observed that, FeBland humanizes geometry, by revealing its mysteries and its beauty, declaring her to be, The poet of geometry.

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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

ASCA ART GALLERY

T
MARIA de ECHEVARRIA Opening to Another World

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, or e-mail your jpegs to artist@hankrondina.com

KELLEY RYAN STENGELE Atomic Kitchen

HARRIET FEBLAND Secrets of The Green Box Colored pencil drawing

BONNIE ROTHCHILD Savannah

STEVE ERENBERG Chrysler

JEREMY COMINS Crevice Watercolor on paper ELINORE BUCHOLTZ Enchantments In Full Bloom

ELVIRA DIMITRIJ Dusty Rain

LESLIE SHAW ZADOIAN What If

ROSE SIGAL IBSEN Sunflowers Following The Sun

HANK RONDINA Plymouth

II. ON LINE 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 he published six major articles on aspects of modern art and designThe following is On Line. It is the second installment in an essay entitled Little Articles on Big Questions. The first installment, On Point appeared in ASCAs Winter 2008-09 Newsletter. II. On Line Following a well-tried path, an established approach, I tear the veil from the fate of a new entity that owes its origin to that very same point. At some time, the point was given a greater or lesser impetus, so that it traversed a greater or lesser area of space. From its movements originated two new signs having an outer expediency and practical meaning. We like wise encounter these two signs in written and printed lines: First, the short stroke, the tie, or the hyphenSecond, the long stroke, the dash---The reader, transformed into a spectator, gradually extracts the outer expediency, then their practical meaning from these signs and on a clean sheet of paper suddenly obtains a second graphic sign, a second graphic entity ____________________line. From these two graphic entities - point and line - derive the entire resources of a whole realm of art, graphics. The point is now able to increase its size ad infinitum and becomes the spot. Its subsequent and ultimate potential is that of changing its configuration, whereby it passes from the purely mathematical from of a bigger or smaller circle to forms of infinite flexibility and diversity, far removed from the diagrammatic. The fate of line is more complex and requires a special description. The transference of line to a free environment produces a number of one. Its practical meaning becomes abstract. As a result, the line disclosed an inner sound of artistic significance. A fundamental turning point is attained. Its fruit is the birth of the language of art. Line experiences many fates. Each creates a particular, specific world, from schematic limitations to unlimited expressivity. These worlds liberate line more and more

from the instrument, leading to complete freedom of expression. At first, line is able to move along a straight path in various directions: to the right, to the left, up and down, and in all intermediate directions. In this way, a world of straight lines is born, whose length, direction, convergence, and intersection provide adequate material for primitive graphic expression. Where their extremities meet and where they delineate particular spaces, lines create new beingsplanes. Both straight lines and the planes created by them remain within the confines of geometrical figuresthe triangle, the square, the rhomboid, the trapezoid, etc. The graphic work that speaks by means of these forms belongs to the first sphere of graphic languagea language of harsh, sharp expressions devoid of resilience and complexity. This sphere of draftsmanship, with its limited means of expression, is akin to a language without declensions, conjugations, prepositions, or prefixes just as primitive peoples, when they first try to speak a foreign language, use only the nominative case and the infinitive mood. There then follows the lines first ever liberation from that most primitive of instruments, the ruler, The clatter of the falling ruler speaks loudly of total revolution. It acts as a signal for us to enter the second world, the world of freer graphics. If we return to the moment of the lines inception, to the point, we see it turning from the very outset, constantly and evenly to one side. Here in this new realm, we encounter another unfamiliar beingthe curved line in its schematic form: the semicircle or parabola. This form is a freer line, but it is still subject to that precise and primitive instrument, the compass, and can there fore be given precise designation. We have still not left behind the major area of graphics that, encompassing the two above mentioned spheres, can be called draftsmanship. The clatter of the compasses falling still does not completely liberate line from its subordination to the instrument. Yet the emancipation of line from subordination to external conditions constitutes its penultimate phase. The line produces a long series of new movements, angular and curved, not lacking in a certain capriciousness and unexpectedness, but which, all the same, can be accommodated within the forms described by various curved rulers. This is the world of the arabesque, the world of the graphic arabesque, often seeming deceptively like a world of total freedom, but which conceals its servile subordination to the more complex instrument. Even there, albeit in hidden form, the mechanical action remains the distinguishing characteristic of this language. This language is like the official style of state documents, where strict limits of conventionality hamper freedom of expression.
Kandinsky Continued on page 9

Kandinsky Continued from page 8

Erenberg , continued from page3

From the fateful paths of line the independent hand seizes the ultimate achievement of the ultimate freedomthe freedom of unconstrained expression. The line curves, refracts, presses forward, unexpectedly changes direction. No instrument can keep up with it. Now comes the moment of maximum potential, of a truly infinite number of means of expression. The slightest inflection of the artists feeling is readily reflected in the slightest inflection of line. The door opens: from a series of confined spaces to a boundless space, to a world of pure graphics, or pure art. The theorist tries to distinguish between groups of related lines (however slight their similarity) according to different headings, to find a definition that will at least give some clue as to their essential qualities: Hence the classification of lines according to the nature of their effect on the spectator. For there can and do exist cheerful lines, gloomy and serious lines, tragic and mischievous, stubborn lines, weak lines, forceful lines, etc., etc. In the same way, musical lines, according to their character, are denoted as allegro, grave, serioso, scherzando. But these attempts of the theoretician are, as far as line is concerned, only partly justified. Such denotation are rudimentary and cannot encompass the depth, the subtlety, the certain uncertainty, the lucid simplicity, and elaborate complexity of the innumerable forms of independent lines. Even if we accept the theorists classification and denote a certain line as serious, the line whose nature is thus characterized will simply ridicule this definition by the mischievous play of its separate parts. The tragic will reveal elements of cheerfulness; a weak line ill, at one curve or another, manifest the persistence of its aspirations; a thin line will thicken unexpectedly, only to compress itself once more into a hairs breath. And what will the classifier say when he looks at the dispassionate line, whose power resides in it5s lack of expression? The sensitive spectator knows that inexpressivity can be more expressive than expressivity itself. Words have lost their power. Only and adjacent art form, e.g., music, can create something resembling the spirit of graphics through its own means of expression. The language of graphics, however, in all its complexity and subtlety cannot be replaced, even by another art form. The limited space allotted to my little articles does not permit me even to touch upon a question of immeasurable importancelinear composition. The aim of this article will have been achieved if the reader discovers within himself the ability to examine the life of a very special world, to see it with his own eyes, to touch it, to sense its aroma and it6s own language inimitable, so fine and of such great importance. They are painted as still-life or specimens. In real life these are creatures that are so small; their beauty or distinguishing characteristics are often overlooked. "Entomechanica" forces us to take a closer look at the smallest things that surround us creating a new sense of awareness, of rediscovery.

KELLEY RYAN STENGELE: NEW ASCA MEMBER

elley Ryan Stengele is an artist living and working in New York City. She received her Bachelor's of Fine Art Abundance of Time and Space from Texas State UniAcrylic versity in 2005 with an emphasis in Painting. Living in Manhattan has become reflective in her work as the city is a constant inspiration for her. Kelley enjoys working with many different mediums, such as acrylic, watercolor, oil, oil pastel, pen and ink, and even collage. Weaving these elements into one piece is at times a signature of her work. Kelley's artwork originated as realism and portraits, but as she matured her paintings became more stylized and certainly unique. She now takes her love for painting women, interiors and architecture to a more whimsical level and uses color and pattern as a means of abstraction.

LESLIE SHAW ZADOIAN: NEW ASCA MEMBER

eslie Shaw Zadoian, returned to fine art after 25 successful years as a graphic designer/editor in New York for several major publishing houses and in higher education. Her assemblage paintings comprise various media: acrylic, oil pastels, pencil, wood, metal, plastic, fabric, wire, and material found along city streets and country roads. Favored trash of the moment includes dead auto parts, rusted tools, and discarded fruit crates. Starting with a shape, a color, a texture, and/or a concept of space, she combines ordinary elements in unexpected contexts, in order to experience them aesthetically and emotionally. These transformations, are firmly based in the here and now and provide an opening into new possibilities and realms beyond the everyday world.

A PANEL DISCUSSION ON THE ART OF BIOGRAPHY


By Olga Kitt

New York School, Wednesday, February 25th, 2009 Panelists: Michael Brenson, David Cohen and Mark Stevens

n a recent cold wintery evening a warm discussion was held at the Studio School at 8 West Eight Street, in Manhattan. The panelists were welcomed by an audience of some ninety artists, curators, art students, teachers, critics and friends: all interested in knowing what went into the production of a published biography. On Wednesday evenings, at 6:30 PM, the Studio School of Drawing, Painting and Sculpture, situated in the old Whitney Museum building, invites critics and art historians to speak at such public lectures. Tuesday evenings are reserved for artist speakers. The panelists on this evening were writer, critic and teacher, Michael Brenson, who has been working on a biography of David Smith, David Cohen, who is researching the life of R.B. Kitaj (has written critical reviews of exhibitions for the now defunct New York newspaper, The Sun, also teaches at the Studio School) and Mark Stevens, who with Annalyn Swan, won a Pulitzer Prize for their biography de Kooning: An American Master. An examination of the art bookshelves in any public library or bookstore will turn up large numbers of biographies of artists to say nothing of autobiographies, memoirs and journals. American artists, Keith Haring and Faith Ringgold raised interest in their work with their writings. What visual artist has not toyed with the possibility of verbally explaining themselves and their work? Often, no biography is written before some autobiography is published. By the time an author decides to write a biography, a considerable amount of material has already been written about the artist and the artists work. So, the amount of material the biographer examines is often immense and his hired researchers are kept busy. Michael Benson, so interested in David Smith and his sculpture, that he would be happy to spend his entire life studying this subject, said increased knowledge of Smiths life magnified his own understanding of the artists work. Those who feel an artwork can stand alone without the artist miss some of the ramifications of the work. The visual experience can be enriched by knowledge of the artists philosophy, personal burdens and triumphs. Besides, the life of an artist may be interesting. Mark Stevens first wants to write a good book. Hes currently working with Annalyn Swan on a biography of Francis Bacon. With a subject like Francis Bacon, one would expect provocative stories. Among the late novels of respected and admired author John Updike was Face, based on artists in the New York School of Abstract- Ex-

pressionism. The events and personalities described in the book are well known to many people who ere a part of that scene. However, Updike enlarged common recollections, changed names and combined the qualities of the characters of different artists into composite artists, who became Abstract-Expressionist personalities in the novel. While a Lee Krasner like character was easy to identify, Jackson Pollack seemed to fade in and out of focus as did Willem de Kooning. It was a well written book by most accounts. When the panelists were asked what they thought of his good book all indicated they had not read it. Although Stevens had bought the book, he had not read it. He found Updikess work too precious. David Cohen, who has immersed himself in the world of contemporary artists, asked the inquirer how she felt about the book. Ambivalent was the answer. As an artist I wonder why anyone would be interested in an artists life. The artists work says what needs to be known and it displays the best qualities of the artist. It is said that the greatest artists put their work above everything else in their life. One would suppose then that the most useful investigation would be of the work itself. Yet, I look forward to every new biography of an artist that comes on the market. Anyone who is interested in attending any of the public programs of The Studio School should call the school at 1-212-673-6466 and ask for a schedule.

MEMBERS WHO SUPPLIED DIGITAL IMAGES ON CDs WILL BE ABLE TO PICK THEM UP AT THE NOVEMBER SHOW

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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ASCAs INDIVIDUAL ANNUAL AWARDS

MEMBER EXHIBITS AND NEWS ASCA WELCOMES NEW MEMBERS


ANITA ADELMAN
1175 York Ave. (108) New York, NY 10065 arbteadel@yahoo.com

he American Society of Contemporary Artists (ASCA) presents Individual Annual Awards, Memorial Awards, College Student Awards and Grants, as a means of recognizing superior achievement inart. These awards are presented in honor of your name, a fellow artist, friend, family name or family member. The awards to different artists each year are honors mentioned in their resumes during their entire careers, which means the name continues to be honored during the lifetime of the artist, and is an outstanding, ongoing tribute. Please note, your heartfelt gift is 100% tax free and will be presented in a fitting ceremony and reception on November 14th, 2009 at 3:00 pm during this years exhibition celebrating ASCAs 91st Birthday at the Broome Street Gallery, 498 Broome Street, NY. o far this year, donations to the Individual Annual Awards Fund have fallen behind the amounts donated last year. Please donate NOW, time is of essence! This Fund consists of the following categories: BENEFACTORS: $500 to $999; SPONSORS: $100 TO $499; DONORS: $10 to $99 (Smaller gifts are combined).

BONNIE ROTHCHILD
360 Third ASve. (8) New York, NY 10016 bonilbr@aol.com

NIKOLAI BUGLAJ
P.O. Box 230269 New York, NY 1002

SONIA STARK
300 Prospect Ave (PHG) Hackensack, NJ 07601
SoniaStark@optonline.com

MARIA DE ECHEVARRIA
209 Garth Road Apt 2F Scarsdale, NY 10583 3 Buena Ventura Place Santa Fe, NM 87508 echeva@earthlink.net

KELLEY STENGELE
285 Mott Street (A25) New York, NY 10012
kelleyryan2582@yahoo.com

LESLIE SHAW ZADOIAN


135-20 Hoover Ave. (3H) Jamaica, NY 11435 lesliesz@earthlink.net

STEVE ERENBERG
23 Furnace Brook Dr.
Cortlandt Manor, NY 10567

erenberg@bestweb.net

e wish to thank all members and friends who have made donations in 2007. The following is a list of donations to ASCA in 2008: BENEFACTORS: SPONSORS: DONORS: The Family of Bernard Kassoy Linda Lubrano & Randy Slate; Gerda Roze; Harriet FeBland; Neva Setlow; Samuel Rosen Rose Sigal Ibsen; Ilse Kahane; Annette Lieblein; Alan Roland; Marie Mutz; Roberta & Mort Miller; Joan & Bruce Ditzion; Howard & Bunny Joseph; Gerard & Patricia Parent; Pearl Bernstein.

LINDA BUTTI Solo exhibit "Trees" - work from a


Private Place, March 3 31, 2009 at the Berkeley Gallery Berkeley College, 3 E. 43rd Street NYC ELINORE BUCHOLTZ Exhibiting at the Icosehedron (ICO) Gallery 28 N. Moore St., NYC May 5th May 29th.Reception May 8th, 8:00 10:00PM.ALSO-the annual Art Students League concur from April 27 to May 2, reception April 29 6:30 - 8pm ALSOExhibited at SFTA Feb.26th Mar.29th JEREMY COMINSOne person show, Survey in Two and Three Dimensions Paper & Wood, at the Interchurch Center, 475 Riverside Drive at 120th St. April 6 th May 8th. Gallery Hours M-F 9:00-5:00PM Closed Sat. & Sun. MARIA de ECHEVARRIAMay 16th-17th Santa Fe, New Mexico, Eldorado Studio Tour. 100 participating artists and 70 studios open to the public.-ALSO-Solo exhibit at the 2/20 Gallery, 220 West 16th St., Chelsea. Oct. 22nd through Nov. 5th, 2009. ELVIRA DIMITRIJ Exhibiting at "A Fine Line" National Juried Exhibition at Center For The Creative Arts, Fredericksburg Virginia (April 26 - May 30,2009).ALSO at the National Juried Show, Capital Arts Network at the Washington Gallery of Photography, Bethesda, MD. Feb. 13-Mar.9, 2009-ALSO at the Arlington Green Executive Center, International Juried Exhibition, Arlington Heights, IL ROSE SIGAL IBSEN provided all the images appearing in a collection of poems entitled "Chisel of Re-

Please make out your check to ASCA and mail it to:

Gerda Roze, Chair: Fund Raising 3 Park Lane, 1-B Mount Vernon, NY 10552 I have found, that among its other benefits giving liberates the soul of the giver. Maya Angelou

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membrance by Vera Schwarcz, Director of the Center for East Asian Studies, Wesleyan University-ALSO-was a participant in A Festival of Folk Arts, Feb. 1, celebrating the year of the Ox-ALSO-demonstrated her calligraphy techniques at the East West Caf, 78th Ave, NYCALSO- Exhibited at the GNA Art Exhibit at the Gregg Galleries, National Arts Club, NYC LEE,SUN-DUN -Selected to exhibit in the 53rd Venice Biennale-ALSO- SOLO exhibition Create & Change: Internal = External, 1=8 at Palazzo Pisani Santa Marina, Venice from Jun. 3rd-Nov. 22nd -ALSO- Selected into the XXIX Gredos Prize for Painting, City Council of San Pedro Arenas, Avila, Spain

A MESSAGE FROM BOBBY SCHILLER, PRESIDENT

RAYMOND WEINSTEIN MEMBERSHIP DIRECTOR

would like to inform the membership that on March 25th we accepted 8 new members. In addition, I would like to inform the membership of the changes we have made. We have completely reworded the application form and are now accepting digital images as a means for jurying new members. I want to thank Jessica Iwamoto, who generously assisted me on the membership committee. Her computer skills were invaluable.

am presently planning for a meeting in June. Estelle Levy is graciously arranging for us to use the meeting room in her building. A pot-luck supper seems ideal as a way for us all to have an opportunity to get together. We will have a chance to sign up for jobs for our upcoming exhibit at the Broome Street Gallery. Jeremy Comins and Harriet Marion have almost completed the work on our CD Book. It will be done by the time we have our meeting. I will bring my computer with me so everyone will be able to see it. Jurying for new members is taking place this month, March. We will be able to welcome new members. Our membership list for 2009 will be completed as soon as we know who our new members will be! Spring is finally here and I wish you joy in the upcoming good weather! Sincerely, Bobby

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 Olga Kitt, Dr. Jose Manuel Rodeiro, Hank Rondina, Barbara Schiller, Raymond Weinstein CONTRIBUTING PHOTOGRAPHERS Hank Rondina COPY DEADLINE FOR THE NEXT ISSUE June 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 2009 by ASCA Permission is required to reprint any portion of this newsletter.

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

ASCA POT LUCK DINNER MEETING! WED. MAY 27TH, 150 WEST 96TH ST. NYC. CONTACT GERDA ROZE, BY MAY 20TH TO LET HER KNOW WHAT YOU ARE BRINGING (914) 667-5349 OR gerdaroze@msn.com

MEMBERS WHO SUPPLIED DIGITAL IMAGES ON CDs WILL BE ABLE TO PICK THEM UP AT THE NOVEMBER SHOW

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