Newsletter 33 WINTER 2008

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american society of contemporary artistsNUMBER 33 WINTER2008

Letter to the Membership

By J. Sanders EatonGallery & Studio Reprinted with permission

Since its founding in 1917, the membership of theAmerican Society of Contemporary Artists hasincluded such distinguished figures as Chaim

Gross, Adolph Gottlieb, and Jacob Lawrence.Celebrating the organizations 90th anniversary, 59 art-

ists from all areas of the United States will be featured in ASCAs Great in 2008, the latest installment of the or-ganizations annual exhibition, at Broome Street Gallery,498 Broome Street, From November 4th through 16th.

One member with whose work we are long familiar isthe New York artist Rose Sigal Ibsen, who although bornin Romania has been widely celebrated in China andJapan for her mastery of Asian Brush techniques. Ib-sens Cherry Tree in Full Bloom is a tour de force, com-bining Western coloristic vibrancy with a translucenceand fluidity unique to Asian ink and watercolor painting.

By contrast, Harriet FeBland, another greatly admiredNew York artist, employs geometry as what she refers to

as the fundamental language and basis of my lifeswork. FeBlands special gift for making statements thatare not only personal but highly expressive within thestringent discipline of hard edge geometric art is evidentin her construction/painting, Where the Sun Shines,where schematized black lines within an austere geo-metric context suggest beams o solar energy akin to vanGoghs brilliant yellow brushstrokes.

Varied postmodern approaches to abstract paintingmake a particularly strong showing this year: MiriamWills Royal lines, for example is a composition ascomplex in form and color as Frank Stellas maximalistworks in painted steel, albeit it the more remarkable forsuggesting a similar massiveness and depth in two di-mensions on a relatively smaller scale.

Lisa Robbins, on the other hand, adheres faithfully tothe frontal integrity of the modernist picture plane in herdynamic monoprint, Introit, featuring colorful shapeswith sensual contours and serrated edges suspendedweightlessly against a mottled green field.

Then there is Harriet Regina Marion, whose work inmixed media, Turquoise Souffl combines areas ofblazingly brilliant

ASCAs 90th Anniversary, Continued on page 2

ASCA Celebrates it 90th Anniversaryat Broome Street Gallery

From: Harriet FeBland,Hon. Chairman Executive Board

Dear members.

At the end of this most tumultuous past year forASCA the executive board AND I would like towish all our members a most happy, peaceful and

creative New Year 2009

During 2008-'09, the Executive Board was formed tocontinue the business of ASCA in an orderly manner,until a new President could be found. The executiveboard, Raymond Shanfeld, Raymond Weinstein FrankMann and I did finally succeed during December to rec-ommend, unanimously, our past Treasurer BarbaraSchiller. She has agreed to accept the position, asASCA President beginning 2009-2011. You will havealready received an ASCA Ballot, voted and should havereturned it to Raymond Shanfeld before the deadline ofDecember 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 invita-tion to qualified artists to join as new members. Theseflyers will be distributed to all members in hopes that youwill recommend "artists of quality" to join our ranks.

Many committees have been set up. An organized listof Chairs and committee members are available. If youare on a committee, please call your fellow committeemembers or the Chair and make a success of the jobyou volunteered to do. Our new President anticipatesyour help as she initiates her plans for our mutual suc-cess. If you are not on a committee, you can volunteerfor one, be a volunteer "sitter" at our annual show, or ifnone of the above, give a donation to "Friends of

ASCA" AS ALL MEMBERS ARE EXPECTED TO VOL-UNTEER FOR SOMETHING.We hope members will help find new venues for exhibi-

tions. Previous galleries or exhibition spaces you'veshown in are the places to ask concerning an ASCA ex-hibit. Do remember to think of ASCA when you happento be speaking with the person in charge of a gallery.

Our member Elvira Dimitrij in Atlanta has managed tohave our book accepted in two separate Libraries in At-lanta, GA. Please note: Members out of State, this

Letter to Membership, Continued on page 5


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ASCAs 90th Anniversary, Continued from page 1

color with drop dead formal boldness. Marions flatshapes billow buoyantly, achieving a striking emblematicimpact.

Two talented stone sculptors also reveal contrastingapproaches to abstract form: Raymond Weinsteinspiece in alabaster, Enigma, is notable for its sensualorganic fluidity, conducting the eye on a roller coasterride through positive and negative spaces. Ray Shan-

feld,, however, employs a stately squared off marbleshape, suggesting an ancient tablet, balanced upon asmaller slab of marble and carved in a manner evoking aprimitive mask, in his evocative piece Directions.

Also included will be an intriguing frontal frieze ingraphite and ink called Raceing Sideways by guestartist Nikolai Buglaj, depicting thirteen neck-and-neckrunners in various monochromatic tones, commentingwryly on our lack of progress in race relations.

Judging from even the s mall sampling of works thatwere available for preview well in advance of the exhibi-tion, this 90thanniversary edition of the ASCAs annualexhibition (to be juried by Dede Young, Curator of Con-

temporary Art, the Neuberger Museum, Purchase, NewYork, Dr. Jose Rodeiro, Art Historian, at New Jersey CityUniversity, and Laura Vookles, Art Curator at the HudsonRiver Museum), promises to be one of the highlights ofthe winter art season.

Barbara received her BS in Education at SUNYCortland 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 hasperformed as Treasurer, she is a member of the KatonahMuseum Artist's Assoc., The Greenwich Art Society andthe Pen and Brush in NYC where she juried-in potentialmembers. She has been honored as "Woman of theYear 2004" at Temple Beth Shalom for her fund raisingactivities and is listed in Who's Who in American Art andWho's Who of American Women.Her exhibition experience and varied cooperative organ-izational activities makes her an outstanding and idealcandidate as ASCA's next President.

Harriet FeBland,for the ASCA Executive Board Committee

Lets get personal: comments onwhat ASCA meant to Joe Lubrano

by Linda Lucia Lubrano

At ASCAs Anniversary Party,Linda Lubrano talks aboutthe importance of ASCA

in Joe Lubranos life

First, I want to thankEstelle Levy, DorisWyman, and other

members of ASCA forinviting Randy and me to

join in the celebration ofASCAs 90th Anniversary.I also want to thank for-mer presidents HarrietFeBland, Jessica Iwa-moto, and all the wonder-ful members of ASCAwho have continued towelcome us into ASCAevents. Your warmth

and hospitality have been sustaining in a personal way,since you represent an extended family of my fathersfriendships 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 ASCAmeant to Joe; after all, it was a central part of his life for18 years. He was always proud of being a member andfelt a strong commitment to ASCAs success and vitalityin the art community. In April 1994 Bernie Olshan an-nounced that he would step down as ASCA President

after six years of service. It was clear that ASCA neededa new President. Bernie nominated Joe for the positionand he accepted it with enthusiasm. He was determinedto do whatever he could to keep ASCA alive and well.And he did.

Joes work for ASCA was truly a labor of love. Heoften spoke with me about meetings and events. Hetook me to ASCA exhibits, eager to show the work offellow artists, and he spoke with great animation aboutideas he had to further ASCAs development. We werealways amazed at the amount of energy that he pouredinto his work, whether he was thinking about new waysof doing things or his meticulous attention to details. It

was with great reluctance that he gave up the ASCApresidency when we had to move him to Virginia be-cause of failing health.

But he would not relinquish the Newsletter. He wantedto continue his work for ASCA,, and even in his weakestmoments; he didnt miss an issue. We knew that ASCAhad become a central part of his life and could not be leftbehind as we closed down his apartment in the Bronx.So, we moved all his ASCA papers and set up his officein his Virginia apartment. As his strength gradually re-turned he was busy once again writing letters for the Me-

An Introduction to ASCASPresident, Barbara Browner Schiller

On Creativity-There are painters who transform the sun to a yellowspot, but there are others who with the help of their artand their intelligence transform a yellow spot into thesun. Picasso


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

morial Awards and consulting with ASCA presidents andother members who continued to call him.

His work for ASCA and the continuity of his personalcontacts with many of you during the last two years of hislife helped to keep him going. He was up early eachmorning so that he could work for ASCA before going todialysis, and he would return to his desk afterwards if hecould. Although he had been transplanted to Virginia, he

lived as if he were still in New York interacting with youas much as he could. He valued the many friendshipsthat had developed over those 18 years. Even whenthere were differences of opinion, there remained a mu-tual respect and common commitment. Many of yousent him personal notes and artistic cards over theyears. These were precious to him; he saved every oneof them. Without ASCA those friendships would not havebeen possible.

Yes, ASCA gave him a daily agenda that he lookedforward to and friendships he cherished. It also revealedto him a side of his nature that he had not fully exploredin his younger years. He told me that before his presi-

dency of the Brooklyn Watercolor Society (1989-1995)and then of ASCA, he had not been in leadership posi-tions of that sort before. Working with many differentpersonalities and viewpoints in the establishment of com-mon understandings and objectives was something hereally enjoyed. I remember him talking with me aboutthis as we sat around the kitchen table in the Bronx andhe said I didnt know I had it in me.

As a daughter I was sometimes worried that he wasoverextended, especially in the 1990s when he was alsocaring for his wife Gigi who had Alzheimers disease.But what I learned from him is that we have to balanceour lives; we have to express the many dimensions ofwho we are. ASCA helped to provide that balance for

him. As he got closer to the age of 93, people would askhim, What is the secret of living well? He alwaysanswered, Find something you love to do, and keep ondoing it. He loved his work for ASCA; and he kept ondoing it.

It is fitting, therefore, that his family would want to com-memorate Joes love for ASCA with contributions to itsactivities. In addition to the completion of ASCAs 27thNewsletter, Randy and I pledged last year to donate anaward for this years Annual Show, namely The JosephV. Lubrano Award in Memory of Sidney E. Zimmerman.Joe and Sid died within a few months of each other. Thetwo 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 lookingthrough Joes papers this past summer we saw repeatedreferences to his strong interest in promoting young arttalent. We would like to provide funding for art studentawards over a five year period through ASCA and werealready thinking of the best way to present this commit-ment when we received Estelles phone call inviting us tothe 90th Anniversary Celebration. We are taking this oc-casion, therefore, to provide a formal letter to ASCA in

which we pledge $1,000 for the establishment of the Jo-seph V. Lubrano ASCA Award Fundfor Art Students.Since we wanted keep this a surprise, we havent dis-cussed it with any ASCA members, and can only hopethat you are willing to accept it. Im sure we can work outthe details later on.

Our third contribution is one that we have discussedwith President Emeritus Harriet FeBland, and it provides

a segue to my introduction of the next speaker. Joe Lu-brano and Bernie Kassoy were very close friends, notonly through ASCA, but also as neighbors in the Amalga-mated Apartments where they both lived and exhibitedtheir work. Randy and I got to know Bernie over theyears and we are truly saddened by his death. As asmall token of our admiration for Bernie and his continu-ing participation in art events at Lehman College in theBronx, and also as a commemoration of the deep friend-ship he shared with my father, we are donating The Jo-seph V. Lubrano ASCA Award in Memory of Bernie Kas-soy to be given to a student in the Art Department atLehman College of the City University of New York for

outstanding creativity and artistic achievement. We haveinvited Honey Kassoy to jury the award, which we antici-pate will be given next April or May. Now, Id like to turnthe floor over to Honey Kassoy, whose beautiful partner-ship with Bernie is one that Randy and I have long ad-mired and respected. Thank you.

We need volunteers to help continue the sur-vival of our ASCA Newsletter. We welcomeart-related articles, reviews of exhibitions

and your upcoming shows.Send your material to:

Hank Rondina209 Lincoln Place,

Eastchester, New York 10709;Telephone (914) 793-1376;

or email it to [email protected]
mailto:[email protected]:[email protected]


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PROFILES: Talking with Amie,The Artist behind the Art

By Amie Tatem-Araaya

PROFILES: Talking with Amie, The Artist behind theArtist is a new column that will be appearing in your

newsletter. I will feature two, ASCA, artists, talking abouttheir work with Amie Tatem-Araaya. I want to thankAmie for her dedication to this project. In this issue,Amie interviews Nikolai Buglaj, guest artist at our annualexhibit and Hank Rondina.

PROFILES the Artist behind the Art

Nikolai Buglaj talking with Amie

At what age were you aware that you loved creatingart?

It was a very gradual process for me.

Was there an event or person in your life that actedas a motivating force for your art?

The plays of Samuel Becketthis quote: Nothing ismore 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 asan illusion it has to be pointed out. This illusion has thepower of a lens, distorting everything we see.

How would you compare it with one of your paststyles?It started as artistic behavior and gradually became cul-

tural behavior with me.

What does creating art do for you which nothingelse 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 orparticipating in?Music through listeninglistening is active; its averb.

Art is non-verbal expression. It can also communi-cate. Is communication to others important to you?

If so, why?Yes. My work has verbal overtones or bordering on lin-guistic illusions.

Is there any art work of your own that you couldnever part with that you always want to have insight?I would not part with Race ing Sideways

Taking with Amie, Continued on page 12

Letter to Membership, Continued from page 1

is a simple thing you can do. Try to have the ASCA bookaccepted into your local Library. We will send you one ortwo books, which have by now been accepted in manymajor libraries including the Library of Congress inWashington D.C. A list of these libraries is available.

With the change of leadership we will now have a newTreasurer for 2009 and we welcomeAllan Simpson intothis new post. More details will soon be forthcoming.

Some of the committees formed which membersshould be aware of are:

Fund Raising: ChairGerda Roze: Make all donationsto ASCA through her. We need your help to continuenew programs and your name will be printed in ourNewsletter.

Gallery Search: does not have a Chair, but severalmembers are on the committee. We need a person tocoordinate this important committee.Social Secretary: Olga KittPlease give any news toher for anniversaries or other personal news. Newslet-ter:Hank Rondina is our Editor. He always needs arti-

cles and other news. Membership: RaymondWeinstein is Chair, for new members and Jessica Iwa-moto on his committee.

Reception: We need a Chair for our exhibits andevents.

Some of the directions we are hoping to continue toexplore and develop are: To find a museum to accept anASCA Art Collection. We would like to form a committeeto help do this, also possibly publish a new book of mem-bers art work. Imelda Endaya has an interest in thismoving this forward. To join these committees give usyour name. Keep in touch with these hard workingmembers.

Much more is in the works for our future. We hope youwill 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 mygreat pleasure for the past 4 years and many years be-fore to have been a past President (1981-83, and 2005-2007) acting President (2004) and Hon. Executive BoardChair (2008) to have volunteered my time to ASCA. Thisis a great organization, unique and unusual in that it sin-cerely cares about its members as well as the organiza-tion. I have made many heartfelt and sincere friendshipsthat I will always remember and I hope you will find yourexperiences here as rewarding as I have. It is therefore

my great pleasure to turn my responsibilities over to ournew 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 notjustified by internal necessity."

Wassily Kandinsky


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The ASCA GREAT IN 2008 reception at the BroomeSt. Gallery.

ASCAS GREAT IN 2008Reception at Broome St. Gallery


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ASCAS 90th ANNIVERSARYLUNCHOEN AT THE LAFAYETTE

On October 11th, 2008 the American Societyof Contemporary Artists celebrated its 90thanniversary at the Lafayette Grill, NYC..

The program included Welcome by Estelle Levyand Doris Wyman, Speakers- Stephen Beveridge,Linda Lubrano, Hortense Kassoy and Harriet Fe-Bland. Entertainment- Belly dancer, Jadona(Judith Vancamp)

As you can see, those in attendance thoroughlyenjoyed the festivities.


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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 ofthe 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.

BOBBIE SCHILLERA Delicate Balance

LEE, SUN-DUNCosmos Eye

JUDITH HUTTNERPandora

OLGA KITTDamoiselles Da Bronx Graffiti

MIRIAM WILLSAngled Sound


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ROSE SIGAL IBSENDancing in The Sun

TAMARA TARASIEWITZSpirituality

ELINORE BUCHOLTZEnchantmentsThe Moons Own

FRED TERNAThe Ovens

ELVIRA DIMITRIJThe View

JESSICA IWAMOTOYellow Light


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Talking with Amie, Continued from page 5

PROFILES the Artist behind the ArtHank Rondina talking with Amie

At what age were you aware that you loved creatingart?

The first piece of art I created was a color pencil draw-ing of a pet parakeet, named Buzzy. Buzzy was a para-keet we found in Lavallette, NJ, while on a family vaca-tion. I was about 7 years old. I was laying on thefloor of our supt. apartment on 228th St. in the Bronx.

Was there an event or person in your life that actedas a motivating forcein 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: fend-ers, axels etc. It was abstract, gestural and a lot of fun.

My work ten years ago, when I did create, was still inthe abstract, but as a result of RP, I was not able to weld.About five years ago, after becoming legally blind, Iturned to painting. I used watercolor because of its im-

mediacy.However, my work became more

representational. I joined a local art association and rep-resentational subjects creped into my work because itwas what the majority of the organization was doing andselling. I was not happy. I felt confined, restricted andnot 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 cre-ate and feel my work. I began introducing torn paperand experimenting. I was ecstatic. I rediscovered Kand-insky and Itten and haven't looked back.

How would you compare it with one of your paststyles?

I was always comfortable working in the abstract.Then, I was ensnared in the pretty picture period; theneed to create paintings that pleases the masses.

Yet, the need to hear a painting when it is finished hasstayed the same. My search for the vibration in my workhas not changed.

However, subject and palette has changed dramati-cally. My subjects are conceptual and often spontane-ous rather than concrete and planned.

My palette has been reduced to red, magenta, cyan, ul-tramarine and yellow. I will mix whatever color I needfrom these primaries.

What does creating art do for you - that nothing elsedoes?Creating art is a journey. It is a mystical trip within one'sself: a self exploration. Creating art is letting go of all theoutside influences we are bombarded with each day. It'sunion of the artist and his body, mind and spirit.

Are there other forms of art that you enjoy making orparticipating in?I play piano. Took a few lessons Not that good, but stillenjoy it.

Art is non-verbal expression. It can also communi-

cate. Is communication to others important to you?Yes

If so, why?Ideally, one would look at my work and come away witha feeling of joy,harmony and sometimes dissonance I want the viewersto not only view the paintingsbut also listen to them. I want them to recognize howline and shape andcolor impact on the sound of the painting and that anyvariation in thoseelements affects the composition

Is there any art work of your own that you couldnever part withthat you always want to have insight?Usually it is the last painting. I need to live with it for awhile. The painting becomes the teacher. The creativeprocess does not stop when the painting is finished andframed. The journey does not end. When you create awork and channel life into that piece, you have the re-sponsibility, as its creator, to learn what it is that makesthe painting work. The painting becomes the precursorfor the next work and so on. The journey and self-discovery continues.

Thank you, Hank and Nick, for giving us a glimpse of theArtist behind the Art. Amie Tatem-Araaya

Drawing for

G Flat II-V-I Chords

Race ing Sideways

30 x 40, Drawing in pencil and ink, 1991


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has been raised. From behind it the secret meaning ofthe point can be discerned. Our experience of it has be-come stronger, and its inner sound not reaches the ear,albeit superficially. I refute the practical meaning of thepoint 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 alsounpractical, nonsensical. It has become not only not ex-pedient, but also unpractical, nonsensical. It has begunto break through the conventions of its existence; it is onthe threshold of an independent life, an independent des-tiny. The thick veil has been rent from top to bottom.The astounded ear perceives an unfamiliar sound, thenew utterance of what once seemed a speechless being.

Once and for all, I sever the points connection withwhat seemed to be its own peculiar environment. Itransfer it into the extraordinary condition of total free-dom 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 markand sees before him a graphic and painterly sign. Thepoint, liberated from its coercive destiny, has become thecitizen of a new world of art. The veil has been rent intwain. The inner sound fills the ear that can hear.

The door has been flung open. I summon my reader toenter a new world, on that is called now a temple, now astudio and one whose eternal name is art.

For the moment I done all I can in my modest assign-ment. The reader, who is now a spectator, must openhis eyes and ears.

In the next issue we will continue with II. On Line

We need volunteers to help continue the

survival of our ASCA Newsletter. Wewelcome art-related articles, reviews

of exhibitions and your upcoming shows.Send your material to:

Hank Rondina209 Lincoln Place,

Eastchester, New York 10709;Telephone (914) 793-1376;


In 1982 Kenneth Lindsay, Professor Emeritus of ArtHistory, State University of New York in Binghamton andPeter Vergo, Professor and Department Head, Art His-tory and Theory at the University of Essex, United King-

dom published Kandinsky: Complete Writings on Art.The volume presents all of Kandinskys writings duringhis lifetime.

1919-1920 was a period of intense theoretical and criti-cal activity for Kandinsky. During these few months herpublished six major articles on aspects of modern art anddesignThe following is On Point.

The accustomed eye responds dispassionately topunctuation marks. It transmits its impression tothe brain dispassionately, and in accordance with

these marks, the brain judges the greater or lesser com-pleteness of the idea expressed.

The point is the completion of a more or less complexidea. It does not appear to have its own life and in itselfdenotes nothing.

The accustomed eye slithers dispassionately over ob-jects. The dulled ear accumulates words and transmitsthem mechanically to the consciousness.

The outer expediency and practical significance of theentire world around us have concealed the essence ofwhat we see and hear behind a thick veil. And often wedo not even suspect the resonance of phenomena ortheir radiant emanations.

This thick veil hides the inexhaustible material of art.And yet, beyond it there live innumerable beings-eachwith its own essence, its own destiny. From among theirinfinite number of various arts could and soon will-indeed, have already begun to-select their requisite ma-terials of construction.

Such are the resources of painting (abstract and realis-tic), of sculpture, poetry, danceof all the arts.

In these few lines I shall dwell only upon one of thesebeings, which, in its tiny dimensions approachesnothing, but has a powerful living forcethe point.

Our normal encounter with this living, powerful beingconstantly occurs in the written or printed line, where itserves as an outwardly expedient sign with a factualmeaning.

By carrying out a few experiments with this point to

which we have become accustomed, I shall try to partthe thick veil dividing us from the inner essence of thepoint and stifling its inner sound.At this juncture I put a . A whole world now vacillatesbecause of this unimportant event. The point is in thewrong place and its external expedience has sufferedtragically. The accustomed eye has already lost its totalindifference. It is rather puzzled and insulted. Thereader explains this abnormality as a misprint of an acci-dent. So thanks to one or another explanation, the practi-cal meaning of the point remains constant. But the veil

I. ON POINTWassily Kandinsky


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From Harriet FeBland: President EmeritusCHAIR: Biographical Bank and Exhibitions

ASCAcontinues to keep a current bank of our

members resumes, slides, photographsand background material. We submit these exampleswhen negotiating with possible venues for exhibitions.

Most curators and directors (but not all) request to seeour members recent works which would be availablenow for exhibition, sometimes making their selections ofparticular artists during these early interviews. Mostly atthis early stage, their interest is an artists style, not in aparticular piece of art. Nevertheless, please submitworks that are available should they make a particularselection.

ALL NEW MEMBERS are requested to submit thefollowing 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 ex-

amples 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 toshow one slide only per artist plus your resume, andwhatever background material you send me. Backgroundmaterial should give further examples of your art, sinceonly one slide represents you.

MEMBERS who want to update their material, I amunable to return your files without a stamped, self ad-

dressed, large, manila envelope, or a personal visitwhere you can change your material yourself. To do so,Tel. 212-759-2215 or e-mail [email protected].

NEW MEMBERS: Send material toHarriet FeBland

245 East 63rd Street (1803)New York, New York 10065

From Harriet FeBland: President EmeritusCHAIR: Biographical Bank and Exhibitions

ASCAwould like to have shows in your

neighborhood, (Westchester, New Jer-sey, Connecticut, Pennsylvania, etc., anywhere in theUSA) You are our best spokes-person to help initiate ourfuture exhibitions. You have all exhibited in galleries, artcenters 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. Ourshows are top professionals. Dont be afraid to say so.

Our ASCA book is available as an example to showthem. We cannot have exhibitions without your help andinitiative. Members outside of New York City, we want toexhibit in your area and we especially need your help

and input. All members are asked to do something forthe society, and our exhibitions are the reason why wehave been organized for 90 years.

We look forward to hearing from you. Please join thiscommittee and help with a most important area of theorganization.Contact:

Harriet FeBlandPresident Emeritus, Exhibitions Chair

245 East 63rd Street (1803)New York, New York 10065

Tel: (212) 759-2215 e-mail [email protected]

ASCAS RESUME ANDPHOTOGRAPHY BANK

NEW EXHIBITIONS

W

e need volunteers to help continue thesurvival of our ASCA Newsletter. Wewelcome 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 [email protected]


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AWARDSASCAS GREAT IN 2008

MEMBER EXHIBITS AND NEWS

Imelda Cajipe EndayaIrwin and Florence Zlowe ASCA Memorial Award, 2008

Olivia Koopalethes

Roy Moyer ASCA Memorial Award, 2008

Harriet FeBlandRose Hart Betensky ASCA Memorial Award, 2008

Harriet Regina MarionIsobel Sokolow ASCA Memorial Award, 2008

Estelle LevyHarriet FeBland Award Honoring Bernard Kassoy 2008

Ginny B. RogersBernard Kassoy ASCA Memorial Award, 2008

Doris WymanAlexander Rosen ASCA Memorial Award, 2008

Mina Myar

Kim and Robert Kiyosaki ASCAMemorial Art Award, 2008

Marcia BernsteinJami Taback ASCA Award

Honoring Marilyn Morgenstern 2008

Ilse KahaneChristine Jones Marocco ASCA Award

Honoring Sueyoshi Iwamoto 2008

Nilolai BuglajNeva Setlow ASCA Creative Art Award

Honoring Eve K. Cummings 2008

Uri ShulevitzThe American Society of Contemporary Artists

Award 2008

Lawrence AlboumThe Joseph V. Lubrano ASCA Memorial Award in

Memory of Sidney E. Zimmerman

Florence KevesonASCA Honorable Mention Painting Award, 2008

Erin Stukey JohnsonASCA Honorable Mention Graphics Award, 2008

Jan WundermanASCA Honorable Mention Sculpture Award, 2008

BARBARA SCHILLER,ELECTED PRESIDENT OF ASCA

2009 DUES TO INCLUDE ENTRY FEE

FOR ASCAS ANNUAL EXHIBIT

The Board of Directors has approved the pro-posal 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 savethe work and the cost associated with two separatemailings.

In addition, It will also help prevent the complica-tions that arise when members accidentally pay

twice.

LAWRENCE ALBOUM- Exhibiting at the Art Connec-tions 5, at the George Segal Gallery, Montclair StateUniversity, Jan. 15th-Feb. 15th, 2009

MARCIA BERNSTEIN- Exhibited at Women in theArts 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 ofArt, N.J.

ELINORE BUCHOLTZisAp Back Room On-lineShow 2008-ALSO 2008 Christmas show at Art Stu-dents League,-ALSO- WSACs annual abstract show atthe Broadway Mall 96th. and Broadway,-ALSO Soloexhibition in the Berkeley College gallery 3 E. 43rd. St.-ALSO- Solo exhibition in the lobby of 200 E. 36th. St.,

ELEANOR COMINSExhibiting at Delaware CountyCommunity College, Feb. 16th-Mar. 13th ALSO- Hub-Robeson Galleries, Penn State University, Apr. 2nd-May6th.

HARRIET FeBLAND-Exhibiting at the Roland Gibson

Museum, Gibson Gallery Acquisitions Exhibition "SUNY,Potsdam College, Potsdam, N.Y. Jan. 29 th - Feb. 28th,2009 -ALSO- Visual Arts Center of N.J. SummitN.J."23rd International Juried Show" Feb.13 th - Mar.27th , 2009-ALSO- Zimmerli Art Museum University, "AParallel Presence "A history of Women Sculptors, acqui-sition collection Jan 17 - Apr 12 2009-ALSO- The AgnesK. Waverly, CT. Honors: Sponsored and funded theirrecently digitally restored 1986 film for TV titled FeBland"and published a new color catalog for distribution to

See Membership News page 16


16/16

ASCA OFFICERSPresident Barbara SchillerVice-President Raymond WeinsteinVice-President Raymond ShanfeldVice-President Frank Mann

Treasurer Allan Simpson

Corresponding Secretary Imelda Cajipe EndayaRecording Secretary Lisa Robbins

Social Secretary Olga KittHistorian Frank Mann

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

ASCA NEWSLETTERPublication DirectorHank Rondina

CONTRIBUTING WRITERSHarriet FeBland, Kenneth Lindsay, Hank Rondina,

Amie Tatem-Araaya , Peter Vergo

CONTRIBUTING PHOTOGRAPHERSHank Rondina

COPY DEADLINE FOR THE NEXT ISSUEMarch 15, 2009

Send your material to: Hank Rondina, 209 Lincoln Place,Eastchester, New York 10709; telephone (914) 793-1376;


ASCA Newsletter is published 4 times a year.Copyright 2008 by ASCA

Permission is required to reprint any portion of this Newsletter.

Membership News continued from page 11

museums in U.S. & U.K. Feb. 2009-ALSO- Broom StreetGallery, "ASCA 90th Annual-ASCA's Great in 2008"Nov4-16 '2008 and Received the "Rose Hart Betensky ASCAAward" for her wall relief "Where The Sun Shines"at the90th Annual, NYC -ALSO- at the Ormond Memorial ArtMuseum, Ormond Beach, FL. "Society of AmericanGraphic Artists" Oct 10-Nov 23 2008

ROSE SIGAL IBSEN- Dec. 2008, presented a dem-onstration in Japanese Calligraphy at East West Book-store 78 5th Ave, N.Y., N.Y.

OLGA KITT- Dec. 1st-20th, one person show, Prints,Etc. at the Riverdale-Yonkers Society For Ethical Cul-ture. Sponsor, the Riverdale Art Association.

ESTELL LEVY- The Government Accountability Pro-ject in Washington D.C. has acquired and is exhibitingher work in their permanent collection-ALSO- Work in-cluded in National Women Artists Association in

NAWAS Spring to Summer exhibit-ALSO- Exhibited atthe National Women Artists Associations 119th AnnualExhibition at Goggle Works, Reading, PA., -ALSO- Ex-hibited at the National Women Artists Associations 119thAnnual Exhibition at Goggle Works, Reading, PA., -ALSO- Exhibited in the Women in the Arts exhibition, atthe Creative Spirit Art Center in Potsdam, N.Y.

LEE,SUN-DUN-Selected to exhibit in the 53rd VeniceBiennale-ALSO- SOLO exhibition Create & Change:Internal = External, 1= at Palazzo Pisani Santa Ma-rina, Venice from Jun. 3rd-Nov. 22nd -ALSO- ArtspaceGallery, Paris, France Jan. 5th 21st, ALSO-- VI Edizio-

ne Premio Open Art 2009, Sale del Bramante Piazzadel Popolo, Rome, Italy. Jan., 16th- 18th ALSO-- Galle-ry Silver Brush, Helsinki Finland, ALSO-- InternationalCompetition Nude, Marquardt Gallery, Lodz, PolandJan., 1st31st, ALSO--Asian Art Top Show 2009 ArtFairChina World Trade Center, Beijing, China, Jan., 5th

11th ALSO--Academy of Arts. & Design, Tsinghua Uni-versity, Beijing, China, Jan., 7th16th ALSO--Gong-wangfu (Palace of Prince Gong), Beijing, China, Nov.,2008 ALSO--LATTDA Exhibition, Red Gate Gallery,London, UK Nov., 21st-26th, ALSO-- Gallery Gabrichid-ze, Brussels, Belgium Nov., 1st-30th-ALSO- Oct., 2008,Exhibited at the Royal West of England Academy 156thAutumn Exhibition, UK. -ALSO- Bankside Gallery Sum-mer Exhibition 2009, London, UK -ALSO- Selected intothe XXIX Gredos Prize for Painting, City Council of SanPedro Arenas, Avila, Spain-ALSO-Selected into the ArtBuzz, the 2009 Collection, Art Buzz, USA.

ANNETTE LIEBLEIN- received the Ersnt & CecileHolzinger Memorial Award at the 119th Association ofWomen Artists juried exhibition at Googleworks in Penn-sylvania, ALSO-received 2nd Place for her monoprint"Peconic Bay" in the New Rochelle Open Juried Exhibi-

tion in Oct. 2008HEDY O BEILAwarded grants from the Pollock-Krasner Foundation and The American Institute ofArts & Letters.

ALAN ROLAND- Oct., 2008, Received an award forhis Self-Portrait at the Audubon Artists Annual Exhibit atthe Salmagundi Club, N.Y., N.Y. in October, ALSO- au-

thored a book, Dreams and Drama: Psychoanalytic Criticism, Creativity and The Artist. Available throughWesleyan University Press.BARBARA BROWNER SCHILLER- Solo Exhibit atthe Amsterdam Whitney Gallery, 511 West 25th St., N.Y.,N.Y. Cornucopic Divinities, Oct. 31st-Nov.25th, 2008.

We need volunteers to help continue the sur-vival of our ASCA Newsletter. We welcomeart-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- [email protected]

Newsletter 33 WINTER 2008

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Transcript of Newsletter 33 WINTER 2008