Newsletter 38 SPRING 2010

8/6/2019 Newsletter 38 SPRING 2010

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american society of contemporary artists NUMBER 38 SPRING 2010

harriet regina marionAugust 15, 1949 - March 21, 2010

By Honey Kassoy

I spent four summers in Pietrasanta, Italy, in 1968,1969, 1970 and 1976, carving marble and creating

bronzes. I have wanted to go back ever since. So thispast August, we packed up all my shots and medications

and boarded a

flight for Rome:my daughter Sheila, her husband Mitkoand mygranddaughter Toby.

Italy wasvery very hot(but low in hu-midity) and veryvery crowded!

We landed in Rome, rented an apartment with an auto-matic cappuccino maker, and borrowed a wheelchair.The wheelchair not only helped me go longer distancesthan I could do on my feet, but also put us first in line inthe museums. We revisited the Sistine Chapel, and therestored ceiling murals looked much smaller than I re-membered. The Forum and Ostia Antica were all uncov-ered to ancientroad level, withno more of theromantic grassyfields that wesaw in 1960hiding the worldbelow. When I

tired of thebumpy cobble-stone rides, Isat in theshadow of thetrees surrounding the ancient theater and took out mylittle watercolor box and painted.

It was great to revisit Firenze, to see the Ponte Vec-chio, the Michelangelos, Botticelli’s Venus, the

(See Pietrasanta page 2)

ASCA mourns the loss of harriet regina marion.

She was a Director and anactive member of ASCA.ASCA's President, BobbySchiller relates that "harrietwas the person who de-

signed ½ of every years’postcards and organizedour full biographical loose-leaf book. She delivered thatbook to all our exhibits andwhen we were short people to sit at an exhibit…she wasalways willing to help. She was, of course, a wonderfulartist! She will be missed in the ―art world‖ and specifi-cally in ASCA."

Artist harriet regina marion used her surroundings asa source of inspiration and reference for her work. Sheembraced new challenges and was fearless in her ap-proach to art and life.

Her formal training began at the Maryland Institute in

Baltimore, where she received her MFA in 1976. Sincethat time, she has lived and worked in New York City,where inspiration was often is taken from the elements of contemporary urban life.

The many accomplishments of the artist are evident ina history that includes ten solo exhibitions and more than100 juried group shows and annual exhibitions. Her pieces have been shown in countless venues, and haveincluded private and public collections, and also muse-ums such as the Jane Voorhees Zimmerli Museum, NewJersey, The Art Colle Museum, France and the Interna-tional Museum of Collage in Mexico.

As an artist, she received numerous awards, and her

extensive bibliography outlines coverage and recognitionby a variety of media from print to radio.marion’s excel-lence was exemplified by her membership in more than adozen professional arts organizations including the Na-tional Association of Women Artists and the AmericanSociety of Contemporary Artists in NYC. In addition, sheis listed in Who’s Who of American Art, 28th edition.

Her diverse interests encouraged her to share her knowledge with others, and she was not only an artist,

(See harriet regina marion, page 4)

SUMMERS INPIETRASANTA, ITALY

Honey working on Maternal Force in 1968.

Honey at the foundry with Jaques Lipshitz.



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(Pietrasanta , Continued from page 1)

Academia, the Duomo, Piazza de la Signoria and themarket place, and especially to choose from the temptingmulticolored displays of gelati, the ice cream of Italy.

But the highlight of our visit to Italy was the return toPietrasanta. We stayed at the Hotel Palagi, where

Bernie and I had stayed be-

fore, and had an emotionalreunion with the owner, Mila,and her daughter, who hadbeen a small child when wewere there last. We hopped onthe bus to the beach, just aswe had done in years past af-ter a long hot hours carvingmarble, and found it verycrowded, but still breathtak-ingly beautiful. (See Bernie in1969 or so.) So I waded intothe water, and Sheila took a

photo of the 92-year-old bathingbeauty!

The next day we revisited the studio where I hadcarved my marbles and found the son of Professor Palla,the former owner, in charge. He remembered me, as hehad taken photos of my work. Then we revisited theTomassi Foun-dry, whereBernie and I,along withmany of theartists in Piet-rasanta, includ-ing Jacques

Lipshitz, NatKaz and TedEgri, hadworked on our bronzes. Wehad many visitors in Pietrasanta, including ASCA mem-bers: Phil Reisman and his wife Louise, along with Harryand Sara Gottlieb, and best of all our dear friend, HarrietFeBland, who braved an almost endless bus trip to findus.

The foundry was now closed, but we were welcomedby Francesca, the daughter of the previous owner, andher sister-in-law Giuliana, who is compiling a book on

Pietrasanta and its artists. They asked if we had photos,and I told them that my husband had taken many stillsand had also made a movie. We spent a very enjoyableday with Francesca and her gentleman friend, Carlo.They served us lunch, drove us to the local museum andto a restaurant. Later, Francesca presented me with abeautiful book about her grandfather, Leone Tomassi, avery fine sculptor whose work is in the museum as wellas in Argentina and a number of other places all over theworld. So I think I might go again next summer! Whowants to join me?

Maria de Echevarria

I was born in Buenos Aires and I came to New York,from Argentina, in 1969, when my first husband was

hired for a job here.I started to paint in August of 1991 at the age of 47.

At that time I had a full-time teaching position at theUnited Nations in New York.

One unforgettable morning that August, I decided tocomply with the funny sensation in my left hand (I’m left-handed). For two or three months my hand had wantedto paint. That morning I took a brush and some poster paints that my daughter had left in her desk from primaryschool and a piece of paper from my portable printer. Ipainted a small tree and it looked like a child painted it.I painted trees for days, not stopping, except for eatingand sleeping.

I was on summer vacation from the UN and I couldpaint without interruption. I felt so happy. I had this ex-hilarating sense of life that I don’t remember to have hadbefore. It was thrilling to see in front of my eyes imagesthat I was creating. Sometimes they pleased me, some-times not, but what a thrill anyway, and I always couldkeep trying until they pleased me.

I have wondered why I didn’t know about this passionfor painting before. I have found some factors that ex-plain it: in particular, the lack of contact with myself andthe disregard for external indicators.

One of these indicators came from my junior highschool teacher for drawing and painting in Argentina.She was very pleased with my works, to the extent thatshe gave me a gift at the end of the course, The Diary of

Anne Frank , which I read with much interest. Before thisepisode in junior high, I remember my fascination withthe pictures that two cousins, a little older than I, werepainting in private classes my aunt had arranged for them. I especially loved the trees they painted, but I con-sidered myself unable to do that.

In 1991 when my left hand was telling me to paint, Ihad already started practicing Zen meditation. At firstmeditating alone, following the instructions in a book, Ilater joined a meditation group at the Zen Studies

(See de Echevarria, page 8)

92-Year old bathing beauty!

Bernie Kassoy on the beach in 1969 or so.

MARIA DE ECHEVARRIAHOW I STARTED PAINTING

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]

mailto:[email protected]




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ing radiates a warmth which emanates from the model.The observer sees her in a sitting posture, caught in amoment of reflection. Onecannot help but think that thereason Renoir painted thebackground of this way wasstrongly evoked a reflectivemood. This color transmits

perhaps her innermostthoughts: a warm, passionatememory. In fact, to his use of asoft mixture of oranges, yel-lows, greens and reds, Renoir has succeeded in painting theethereal atmosphere of a mem-ory.

Whatever one calls to mind the atmospheric impres-sions of the Impressionist movement, one naturallythinks of the paintings of Claude Monet. Monet was theartist who, unknowingly, cause the term Impressionist tobe used when referring to the "group from Batignolles.‖

The words Impressionists and Impressionism cameabout as a result of the1874 Salon des Re-fuses exhibit in whichthis painting Impression-Sunrise 48 was shown.On viewing this paint-ing, one senses theatmospheric conditionswhich pervade LeHarve the day on whichthe work was com-

pleted. Monet, like Re-noir, Sisley and Pissarro, painted in cold-warm, light-dark

color contrasts. This is apparent as a result of Monet'suse of violets, oranges and grays use throughout hiscomposition. Monet modulates the tones intermittentlyand blends them mystically in the background. As theobserver moves towards the foreground, he notices thelight-dark contrast between sky and water. Monet thenadds an intense orange disk for the rising Sun and shim-mers a light orange hueupon the water with a swiftbrush stroke. The artist hasevoked a misty summer morning which signals thepromise of a long, torrid day.

Monet often went into theopen air to study changes inlight and atmosphere. Hewas known to paint a can-vas until the light changed, and when it did, He wouldbegin a new canvas.49

Intensive studies of nature pursued by Monet andother Impressionists placed him on a path which led di-rectly into the luminescent world of color expression.The painted poetry an individual lyricism was an

(See Color on page 4)

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

Hank Rondina

The following is the final installment of the paper writtenin July, 1976.

"Color as an evocative force In theArt of the Impressionists"

Both Sisley in Pissarro used the color-warm, light-darkcontrast technique in a brilliant seasonal land-

scapes. Pierre Auguste Renoir also use this technique,but treated mainly cityscenes and nudes. In1876, Renoir paintedLe Moulin de laGalette.43 At firstglance, one's eyesdelight in the joy of thesocial scene on asunny afternoon, andone is tempted to takepart in the conversa-tions and dancing. ThePainting Has Been Done Completely In Light-Dark Color Contrasts. The Result Is That Subtle Changes In atmos-phere permeate the entire canvas. It is immediately feltthis scene takes place in springtime. The season is notsolely suggested by the clothing worn by the figures inthe painting. The composition is dominated by blues andgreens. These colors, when used together, have a relax-ing and cooling effect upon the viewer.44 Had Renoir painted this scene in the midst of summer, then he might

have saturated the canvas with warm colors. The artistdid not apply is pigments in the same fashion as theother Impressionists. Rather than loading his brush withpaint, red watch OC use lasers to bring forth light-darkand cold-warm contrasts.45 One need only look at thedetail of the main figure. Her face seems to reflect ashadow cast from a moving leaf on a tree above. Here,the artist has call upon light-dark and cold-warm con-trasts by employing mixtures of yellow, red, blues andviolets. He place at the right side of her face in the darka shadow and renders the shadow with modulations of violet/yellow/blue. He continues to employ the samemodulations as he paints the left side of her face. How-

ever, at this point, he lightens the mixture. Renoir hascompleted the shape of her face and head by usingdarker mixtures of pinks and blues. Additional form hasbeen attained with the use of an intense red hue for her lips. "The colors of this painting all have a semblance of reflection. One seems to breathe the enchanted air."46

During the year in which he completed Le Moulin de laGalette, Renoir painted After The Bath.47 This paintingdiffers sharply from Le Moulin de la Galette because of the lack of perspective in the background. In fact, thebackground of this painting is almost flat. Yet, the paint-

Le Moulin de la Galette

After The Bath

Impression-Sunrise

Seurat- La Grande Jatte



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( Color, Continued from page 3) inspiration for future movements in art. The pointillism of

Seurat and the art of Cezanne expanded and developedthe color theories of theday. Eventually, other movements would fol-

low. Men such asKandinsky and Ittenwould broaden thescope of color theory.Color would be com-pared to musical instru-

ments. Kandinsky would write: "it would be difficult tocompare yellow to a base and a dark lake to a violin."50 Itten, who taught with Kandinsky, we devised a newmethod of teaching color.

In the movement called "neo-realism," the artist super-imposes the photograph on canvas and copies the im-age without emotion or individuality. Can it be that the

artist has become too lazy to study and understand thewonders of color surrounding him? Has a materialisticoutlook again taken hold? In this regard, Faber Birrenhas stated: "perhaps the art of color expression hasstopped dead in its tracks."51

In the writer's opinion, the artist will again waive abright, luminous and banner of color expressionism. "Artmust be a thing of spirit and not mere fidelity."52

Bibliography and footnotes provided on requestJuly, 1976

( harriet regina marion, Continued from page 1)

but also an arts educator and Adjunct Professor of ArtHistory. harriet regina marion had a style that was hersalone.. “ The work is mixed media culled from the elements of contemporary urban life. It is colorful, non-objective(to everyone but the artist) and comprised of pre-

existing elements that reflect concrete special rela- tionships. It is somewhat tactile and dimensional over digitally created 3D compositions. Often, individual edges, textures and brushstrokes are scanned and reorganized digitally, which creates optical illu- sions when juxtaposed against the physically applied treatments that overlay them. Process and automatic revelation determine the destination of the journey into deep inner space.”

harriet regina marion

Sensitivity, a sudden sadnessFeeling like crying, feelings are endlessNever alone and never lonely Even when I am with myself only The past is still aliveThe passed away lives-are still surrounding usCall it spirit, call it feelings,or unforgotten human beingsMemories in the air Everywhere

Lea Weinberg

Paul Cezanne—The Forest

―Vessel‖

Johannes Itten―Horizontal Vertikal‖

Kandinsky―Yellow Red and Blue‖



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―West Side Development‖ ―The Way I Roll‖

―Softshell Bluepoint‖

―Pistachio Formal‖

―Ladies Room With Pink Rug‖

―Ghost Stegosaurus‖



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ASCA ART GALLERY

The ASCA ART GALLERY presents examples of artby ASCA members selected from the Gallery Al-bum. 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 arrowshowing which side is UP.

Mail your photos to —Hank Rondina, 209 LincolnPlace, Eastchester, New York 10709, or

e-mail your jpegs to [email protected]

Group Photograph at thePhilippine Center Exhibit Reception

STEVE ERENBERGDragonfly

LESLIE ZADOIAN―Solace Revisited‖

KELLEY STENGLE―Abundance of Time and Space‖

MIRIAM WILLS―The Sun Behind‖



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BONNIE ROTHCHILD―Savannah‖

MARGO MEAD―Wonder of It All‖

ELINORE BUCKHOLTZ―Il Sogno‖

LEA WEINBERG―Tree Tango‖

HANK RONDINA―Birth of Venus‖



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(de Echevarria ,Continued from page 3)

Society in New York City. I know now that the practice of meditation played a key role in discovering my love andneed to paint as it deepened the contact with my inner self and increased my attention. I entered into closer contact with people and things as well, and this wasmost rewarding.

I remember walking through the UN rose garden oneday during my lunch hour. There I truly saw a rose for the first time in my life: the color, the delicate contours of the petals, the very smooth surface. The sunlight washitting it, and it was as if the rose had entered my mind.Familiar everyday objects started looking new, with inter-esting features to be observed.

After using the poster paint as a medium, I tried char-coals and pastels. As time went by, I saw at the UN aninteresting charcoal exhibit by the Peruvian painter Reynaldo Bisetti. I contacted him to take some classes.We dealt mostly with charcoals. Later, I attended two or three of the final classes of one of the evening courses atthe Art Students League of New York.

Because these classes and those I had in Argentinain junior high are the only formal training I have receivedfrom others, I consider myself self-taught. Once Istarted, I have never stopped painting and have devel-oped a full career as a painter. Soon after using char-coals and pastels I started with oils and later with acryl-ics. These are my mediums.

Since then, I have had multiple solo shows in NewYork, as well as group shows in New York, Santa Fe andAlbuquerque, New Mexico and Buenos Aires.

Grounds for Sculpture Exhibition Catalogue

Geometry is the central focus in the works of HarrietFeBland. However, her approach is not strictly ana-

lytical: rather she explores the mystery and beauty of geometric forms and shapes. FeBland was drawn to thesubject matter due to a belief it is a "universal imagery."She states "geometry is a force. It has its own power and because of this it became my language of choice thebest express the meaning of my work-its symbolism andcontent." Because of this humanization the mathematicsof shapes, Paul Mocsanyi, former director of the NewSchool Art Center at the New School for Social Researchin New York City has dubbed her "the poet of geometry."

In her sculpture Moon Song, two refined marble componentspresent the calm, mystical pres-

ence of a monolith, especially whencompared with her other, morevisually active and colorful works.The elongated pyramid-like form of the gray Italian marble base servesto elevate the top element to eye-level, bringing the sculpture to anintimate human scale. The high-polish, black Belgian marble topdraws the viewer's gaze along one-point perspective inward to a set of square planes, each made throughthe use of a negative space, and beyond into the void.

Harriet FeBland was born, educated, and trained inNew York, attending Pratt Institute, New York University,American Artists School, Art Students League, and other schools. She also lived and studied for many years inEngland and France, and participated actively in Euro-pean art circles. Upon her return the United States in the1960s, she opens studios in New York and Westchester.She was soon recognized as a pioneer constructivistartist after a major New York exhibition "Plastic in Art" atthe Galerie International. She worked with unusual andinnovative materials for the time, including Plexiglas,acrylics, metals, and electricity. There have been 49solo exhibitions of FeBland's works, and numerous invi-tational exhibitions for her paintings, sculptures, draw-

ings, and graphics. In 1962, she founded the HarrietFeBland Art Workshop , a school for advanced paintersin Westchester and New York, where she served as thedirector until 1993.

In addition to inclusion in numerous publications, andturning many fellowships and awards, her work has beencollected by the Library of Congress, prints collection,Washington, DC, PepsiCo, New York, Cincinnati Art Mu-seum, State of Hawaii, and Zimmerli Art Museum, Rut-gers University, New Jersey among many others

―Opening To Another World‖

―Irises‖

HARRIET FeBLANDAT GROUNDS FOR SCULPTURE



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Larchmont Mamaroneck Patchby Keith Loria

When one looks

at the abstractart of Gerda Roze,you can tell thatthere's a lot of deepmeaning in her work.When listening to theincredible life experi-ences of the 85-year-old, you instantlyknow that this is onespecial artist.

Born in Latvia andraised in Germany, Roze came to the United States in

1950 as a political ref-uge with her mother and husband (a Polisharmy soldier), after liv-ing in a national refugecamp for six years.

"I was always inter-ested in art as a teen-ager, but my mother had me pursue music[the piano] but when

the War came, I had togive that up," Roze said.

"I had been studying medicine in Munich but had tostop….I finally finished my degree at the age of 35 atColumbia University,majoring in sociologyand economics."

By then, she wasdivorced, and althoughRoze knew she had atalent for drawing,upon graduating, wentinto business as aconsultant so shecould help support her mother. She did, how-

ever, go to an art classonce a week so shecould "escape"through her paintings.

"It was a long week,until I could get to do what I loved," she said. In 1960,Roze moved to Mt. Vernon, where she currently has her own art studio inside her apartment.

"As it turns out, art is everything for me," she said."When I was in the business world, I automatically wentthere and succeeded, but it was not where my heart was.

When I had to make a decision to continue in business, itcame to the point where I was thinking of art, so I de-cided to go towards art, and I felt complete."

When Roze retired in 1988, she decided to dedicateall of her time to paint-ing."I have gone throughall different styles, but

for the last 30 years,have concentrated onabstract paintings,"she said. "I look ateverything around usas having color andshape. Whether it's atable or chair or cup.An abstract artist cre-ates things unrecog-nizable so the viewer has to read into it."Fifteen years ago, she also began monotype printing,

producing one-of-a-kind oil-base prints."The creative process in my work engages both my intel-lect and my emo-tions," Roze said."While the intellectunderlines the obvi-ous by designing mycanvases in looselyformed geometricshapes, my emotionalis expressed in color."

A collection of 27 of Roze's paintings arecurrently on display at

the Mamaroneck Art-ists Guild in an exhibitentitled "Homage to

the Circle."Roze explains her fascination with the shape, calling it amysterious figure that has no beginning and no end, thatsomehow almost always makes its way into her artwork."The circle is a universal symbol-so simple yet so compli-cated! Exploring its unique shape has led me to a wholeseries of circle paintings and prints. In some works one

will easily recognize the familiar shape; in others one willhave to look for it. The eternal, mysterious shape has no

beginning and no end."

"Non-objective abstractions have ruled most of my crea-tions over a quarter of a century. Non-objective art is a

highly personal artistic expression which almost requiresan "act of faith" on the part of the viewer to accept pure

form and color as subject matter as well as the." Mamaroneck Artists’ Guild Gallery

126 Larchmont Avenue,Larchmont, NY (914) 667-5349

The show will hold a closing event with a"Walk &Talk" by the artist on Sat. May 1, at 3 p.m.

GERDA ROZE:HOMAGE TO THE CIRCLE

"Orbit Series V"

"Solar System VII"

"Homage Opus IV ― (Circle in a Square)

"Homage Opus V ―

"Homage Opus III―

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http://assets2.patch-assets.com/assets/photos/000/331/690/331690_expanded.jpg?1271269062



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By J. Sanders EatonGallery and Studio

Sumi-E painting, or painting with brush and ink in the

Japanese manner, which derives from ancient Chi-nese ink painting, is a world unto itself. Once, in the Paxcoffee shop near the Art Students League that he hadmade his regular hangout, I try to explain its appeal to athird or fourth generation American Abstract Expression-ist of my acquaintance, he just kept shaking his headand saying, "I know it's very beautiful and very difficult todo that but it's just a whole other aesthetic then what Iknow in due." This despite the fact that the generalthrust of abstract Expressionism-the very type of paintingthat he knew and did!-derived directly from Asian brushpainting, particularly the spontaneous Zen literati branchof it, which inspired so-called "action painting."

Fortunately, there are some American artists who notonly understand the" very different aesthetic" of brushand ink painting that have become passionate devoteesand accomplished exponents of it. Several of the best of them will be showing their work in "Enchanted Worlds of Our Dreams," an exhibition of the Sumi-E Society of America, Metro NY Chapter, at 9th Street Salon, 502 9thSt. (between 7th and 8th Ave.), in Park Slope, Brooklyn,from May 8, 4 to 9 PM. Call646-457-0014)

One member of the Sumi-E. Society with whose workmany of us have long beenfamiliar Is Rose Sigal Ibsen,a Romanian born artist andlongtime resident of NewYork City will has perhapsdone more to popularizeAsian ink painting than anyother occidental person onecan name. Ibsen, who hasbeen widely praised by someof the Asian masters of Sumi-E and Chinese ink painting,including C. C. Wang, and has exhibited in both Japanand China, is well represented in this show. Her ink andwatercolor painting "Grapes" and her ink monochromatic

ink painting "Bamboo" both show her mastery of themore traditional modes and subjects of Sumi E... sheacquired as a student of the well-known Japanesepainter and calligrapher Koko Yamamoto.

Another artist familiar to this writer who has made aunique contribution to her art form is Eva Mihovich, who

just to paintings of the Buddha entitled "Enlightenment"numbers I and II, as well as a nude study, Mihovich, too,employs her Sumi-E skills literally to interpret subjectsnot normally associated with ink painting, such as thenude, which is very rare in traditional Asian painting in

general. And even when she takes on a subject such asher two "Enlightenment" paintings. A method of model-ing and shaping the contours of the figure to create aneffect that is three-dimensional rather than flat and linear the more Western than Eastern. However, for all thefreewheeling originality, Mihovich's work still has thespirit and freshness of Sumi-E painting at its best.

More traditional in terms of its spare linear economy

is the style of Sarah Hauser. Yet there is nothing evenvaguely formulaic about Hauser's feline and canine stud-ies, swiftly executed from life in a graceful ink line, whichcapture the vitality of a small subjects with winning hu-mor and grace. One of the most distinctive aspects of Hauser's work is her exquisite use of the empty space of the paper to let the "air" into the composition, especiallyin "Bruno," with a furry subject's rear end is amputatedby the edge right-hand edge of the paper, creating a de-lightfully off-center effect. Another society member KatiaSimonova shows true mastery of monochromatic land-scape painting in a manner that dates back to Sung art-ists such as Li Ch'end and Kuo Hsi (10th and 11th centu-

ries, respectively). In Simonova's "Countless Clouds of Summer" and "On Winter Solitude of Trees" mountainsand mists are conjured up in a range of gray tones sosubtle as to make clear why scholars of ancient Asian inkpaintings maintain their monochromes can convey theentire spectrum of natural hues. However, being a con-temporary painter willing to bend tradition when themood suits her, Simonova employs a more stark inktechnique resembling a woodcut print in one Sumi-Epainting inspired by a poem by Yosa Buson.

By contrast Maria Kleinman, who works in a relativelylarge format, employs a whole range of watercolor huesand techniques, combining them with fantastic figuresreminiscent of the Belgian painter James Ensor in an

excitingly eclectic composition called "Who, What,Where." And then, as if to reaffirm the faith in more tradi-tional subjects as well, she also exhibits another vibrantwatercolor called "Early Dawn Red Lotus."

Another artist who straddles tradition and contempo-rary abstraction is Linda Mulhauser, whose "Heron inRice Fields" is a spare linear avian figure that harks backto the aforementioned Zen literati painter/poets. How-ever, in two of the compositions are respectively entitled"Burst of Spring" and "Midnight Blues" Mulhauser createscompositions so gesturally exuberant and abstract thatthey could easily be classified as "action painting" In themanner of the New York School, circa. 1950s.

Then there is Einat Grinbaum who applies the tech-niques of Sumi-E to a style of painting that is completelyabstract, in which bold, broad streaks of gray and blackink converge like the gestural forms in the paintings of abstract Expressionist canvases of Franz Kline. (Indeed,Kline projected his compositions from blown ink sketchesthat he made in the 20 odd pages of a telephone book inmuch the same manner.) But while Kline's black calligra-phy suggested solid steel girders, Grinbaum, however,employs a full range of tones attainable with Sumi ink to

(Continued on next page)

ROSE SIGAL IBSEN"ENCHANTED WORLDS OF OUR DREAMS"

"Bamboo"



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The American Society of Contemporary Artists(ASCA) presents Individual Annual Awards, Memo-rial 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 familymember. The awards to different artists each year are honors mentioned in their resumes during their entire careers, which means the name continues tobe honored during the lifetime of the artist, and isan outstanding, ongoing tribute.

Please note, your heartfelt gift is 100% tax freeand will be presented in a fitting ceremony and re-ception on November, 2010 at 3:00 pm during thisyears exhibition celebrating ASCA’s 92nd Birthdayat the Broome Street Gallery, 498 Broome Street,NY.So far this year, donations to the Individual AnnualAwards Fund have fallen behind the amounts do-nated 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).

We wish to thank all members and friends whohave made donations in 2009. The following is a list

of donations to ASCA in 2009:

SPONSORS: Elvira Dimitrij, Gerda Roze,Neva Setlow

DONORS: Rose Marie Cherundolo,Helene Erenberg, Harriet FeBland,Rose Sigal Ibsen, Erin Johnson,

Please make out your check to

ASCA and mail it to:

Gerda Roze, Chair: Fund Raising3 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

ASCA’s INDIVIDUAL ANNUAL AWARDS

lend his swiftly streaking strokes a lighter-then air quality.Carol Izkowitz-Meiman is yet another artist who has

found a unique way to use her Sumi-E technique in acontemporary Western manner, as seen in her "Seascape," he beach panorama spread over four piecesof paper create an almost cinematic sequencing effect,as well as in another natural vista in a long horizontalformat called simply "Landscape." Izkowitz-Meiman

also shows other pieces from a series called"Movement," in which dancing figures are evoked with

just a few sinuously twisting ink lines overlaid withwashes of blue or red watercolor.

Susan Davis also employs watercolors, albeit in amore detailed manner in compositions such as "LushMagnolia," in which the sensual red flowers and grayishgreen leaves are seen against cream-colored paper in along vertical scroll format, and "Strawberry Delight," inwhich the cluster of berries are set off by a pale bluebackground. In these works, as well as in another water-color within an oval shape called "Orchids Abound,"Davis displays her skill in capturing specific subjects in

considerable detail without sacrificing the freshnessmakes the medium especially vital.Roslyn Gamiel moves easily from floral still life sub-

jects as seen in "Lotus for Sarah," to the free-form calli-graphic expression of her work title, "Dancing Brush."The single element that unites all of Gamiel's composi-tions is the fluidity of her line.

Then there is Maureen Meany, perhaps the most in-trepid colorists in the show, judging from the intensity of red, violet, blue, and yellow hues she employs in the wa-tercolor "Parrot," with the Bulls, almost explosive exuber-ance of a brushstrokes verges on Expressionism. Al-though color is somewhat more subdued, Meany'sbrushwork is equally energetic in another watercolor

called "Rooster."The good news about this exhibition in general is that,

rather than slavishly imitating the past masters of theAsian art form that they have adopted, each of the artistsin the show make a uniquely contemporary, often west-ernized, contribution to its venerable tradition.

Rose Sigal Ibsen"Grapes"



12

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MEMBERSHIP NEWS

Georgiana Cray Bart- Exhibiting at Something Special,23 West Walnut St, Kingston, PA, May 8 to18, 2010. Re-ception: May 8, 2010, 5 to 7 pm.-ALSO- will be teachingart on two back-to-back cruises June,2010: 1st on theQueen Mary 2, transatlantic from NYC to South Hamp-

ton, England from June 7 to June14, and 2nd on theQueen Victoria, South Hampton, England to the Mediter-ranean from June 14 to July 1, 2010. For information on

joining the cruises contact Cunard Cruise Lines on theweb.-ALSO- teaching adult and children's paintingclasses at her studio information contact Georgiana at570-947-8387 or [email protected] or go towww.gcraybart-artworks.com, Adult Classes are heldMondays 12 to 4pm and Tuesdays 7 to 9:30 pm. Chil-dren's classes (8 to 11 years) are Mondays 4:30 to 5:30pm and Tuesdays 4:30 to 5:30pm. Classes for 12 to 13year olds are, 5:30 to 7pm. Private instruction is avail-able.

Elinore Bucholtz- International Contemporary Masters2010 at the Museum of Southern Nevada from April 17—June 5 —ALSO—SOLO exhibit April 10 — May 29, Plan-tation, Fl.Jeremy and Eleanor Comins-- will exhibit one water-color each in the Roundtable Exhibition at the NationalArts Club. April 19--May 12010. María de Echevarría-- Solo show ―The Colors of Music” at the Consulate of Argentina 12 West 56th St. NYC April8th - 29th of 2010Harriet FeBland-- Exhibiting at Grounds for SculptureMuseum, Hamilton, N. J., Seward Johnson Center For the Arts, special exhibition Jan.-Dec. 2010-ALSO-

Boxheart Gallery Pittsburgh, PA. "The 9th Annual ArtsInternational" Jan. 2010--ALSO-Perth Amboy GalleryPerth Amboy, NJ., Mar. 8th-Apr. 30 Rose Sigal Ibsen- "Enchanted Worlds of Our Dreams,"at 9th Street Salon, 502 9th St. (between 7th and 8thAve.), in Park Slope, Brooklyn, from May 8, 4 to 9 pm.Call 646-457-0014)-ALSO-Contemporary Artists Guild42nd Anniversary Exhibition, Apr. 27--May 9, 2010,Broome Street Gallery, 498 Broome St., capital NYC.Estelle Levy & Margo Mead--Exhibiting at Gallery 307March 23rd through May 1st.307 7th Avenue, Suite 1401, NYC 10001 616.400.5254

Hank Rondina-- Invited to exhibit six paintings at theMedia Loft Gallery, 50 Webster Ave., New Rochelle, NYMay 14th-23rd, Reception May 15th 4 to 8 pm. Gerda Roze –― Homage to The Circle‖, Solo Show atMamaroneck Artists’ Guild Gallery , 126 Larchmont Ave-nue, Larchmont, NY 10538 (914) 667-5349. OpeningChampagne Reception, , April 17th, 5 -7 pm.Closing Event with Walk &Talk by Artist, , May 1st , 3 – 5

pm.Lea Weinberg—Exhibited 2 Bronze and 2 wire meshwith mixed media sculptures at the Society of WomenArtists’ "The Meaning of the Line" at Broome Street Gal-lery, SOHO, NYC-ALSO- Three of her bronze sculptureswill be part of The World of Artists juried, InternationalWomen Show, National Association of Women Artists atHowland Cultural Center, 477 Main Street, Beacon, NY12508(845.831.4988) May 1 - June 13, Opening Recep-tion: Sat., May 1ST , 2- 5pm- ALSO- Exhibiting in Earth-Visions at ARC Gallery in the Museum of Science andIndustry, Tampa, Florida, Apri. 30 - May 28.-ALSO- TwoWomen Show Imaginary Implications at N.A.W.A Gallery

80 Fifth Avenue, suite1405 (corner 14

th

St.) June 18 -July 16, 2010, Opening Reception: Thursday, June 24, 6-8pm.



Newsletter 38 SPRING 2010

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