newsletter 34 spring 2009

8/6/2019 Newsletter 34 SPRING 2009

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american society of contemporary artists NUMBER 34 SPRING 2009

MARIA de ECHEVARRIA:NEW ASCA MEMBER

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

ASCAs former twice electedPresident Harriet Fe-Bland, President Emeri-tus, was the recent honored recipient of the Featured

Artist Prize by the Agnes K. Haverly Foundation. Honorsincluded a published, funded and sponsored new 12page color brochure of her career and work along withthe remastered digitalized DVD of the 1986 video filmthey produced for TV. They state: The Agnes K. Haverly Foundation fosters awareness, appreciation and under-standing of exceptional art of American masters who arenot necessarily nationally known. We have followed Har-riet FeBlands career of sculpture, paintings and graphicssince the 1960s, a time when women artists were not welcome into the mainstream, and we are happy to rere-lease 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 ArtHistory, New Jersey City University.

F or over 50 years, in both her 2-D and 3-D works,Harriet FeBland has maintained an unwaveringcommitment to geometric-abstraction, finding ingeometry intimations of sublime aesthetic beauty;wherein triangles, squares, rectangles, straight lines andrecurrent patterns furnish aesthetic insights that revealharmonious universal structures and symbols. Whenviewing her work, one is reminded of the maxim abovethe main- door of Platos Athenian Academy, Let no oneuntrained in geometry enter.

Like Plato, FeBland utilizes geometry as a tool for ex-ploring universal concepts, e.g., infinity, symmetry, andrhythm. For instance, in her compositions, straight linesplay crucial aesthetic roles, delineating spatial relation-ships between shapes and forms. For the sake of artisticpurity, she disregards all unessential concerns, e.g., sub-

jects, narratives, figures and mimetic elements. Withprecision, FeBland articulates each line, shape, and

See FeBland, page2

Peace, Energy and Beauty(Online Interview)

Argentine-bornpainter Maria de

Echevarria dis-cusses her inspirations,achievements and questfor self-knowledge withEverything Art .

Name, birth date andcity of residence.Maria de Echevarra. Iwas born in Buenos Ai-res, Argentina, on Sep-

tember 8, 1944. In 1969 I moved to the United Statesand 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 andbeauty.

What was your first artistic inspiration?Some conifer trees that two of my cousins painted. Imust have been 10 years old and they were a little older.I admired them for that and I considered myself unable todo the same.

What or who inspires you today? Why?The inspiration comes from different sources: naturallandscapes, the arrangements of lines and colors incommercial ads and photos and the patterns created bythe 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 in-side of me. This silence probably puts me in contact withthe creative dynamo that lodges in us. Sometimes, withthe silence comes a feeling of being that transcends myown life.

What's your proudest artistic achievement?See de Echevarra page 2

Under ConstructionMixed media

HARRIET FEBLAND


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FeBland, Continued from pate 1

form. A case inpoint is thepaintingSienese Land-scapewith its effusion

of radiant lightvia repeated jagged bands of undulating per-pendicular pris-matic patterns,evoking thegraceful 13 th

Century geometric- motif of Giovanni Pisanos Siena Ca-thedral facade. Her geometric patterns are infused withkinetic, refracted, and prismatic hues, by circumspectrepetition of these elements; a sense of infinity is gener-ated.

Through the course of here long career, she has cre-ated many significant innovations in sculpture, painting,graphics and mixed-media, including her early experi-ments (in the 1960s) with Plexiglas, plastic, light andelectronic-works. Due to her pioneering and ingenioususe of science, mathematics, and geometry as key aes-thetic elements in her graphics, painting, sculpture,mixed-media work, tapestries and new media experi-ments, she is truly a Renaissance artist, who has mas-tered sundry artistic disciplines.

FeBland was born in New York City, as a child, sheattended Pratt Institutes Saturday -program for children,,the American Artists School, as well as the New Schoolfor Social Research, learning from such luminaries asRaphael Soyer, Chaim Gross, Stuart Davis, Kuniyoshi,Will Barnett, and Harry Sternberg. As a young artist, shepursued academic training at Pratt Institute, the Arts Stu-dents League, and New York University. Then for over adecade, 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 17in Paris, where she studied etching and simultaneous -color 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 newgeometric subjects required new materials, manifestingin her breakthrough exhibition entitled, Plastic in Art atthe Galerie International, NYC, which led to her inclusionin Thelma Newmans definitive text Plastic as an ArtForm (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

de Echevarra, Continued from page 1

A solo exhibit at the United Nations Headquarters in NewYork in February 1998.

What are your work habits like?In general, I work better in the morning and during theday than at night. Classical and pop music help the proc-

ess of creating, but the decisive factor is contact with myinner self.

What's the worst thing anyone ever said about your work?"I went to see your exhibit, but I like more realistic paint-ings."

What's the best thing anyone ever said about your work?After one of my shows I received this e-mail: "Thank youfor the beautiful and spiritual paintings I saw yesterday.The subtle colors and shapes! To me, the feminine, gen-tle, mysterious and sensual essence of the universe arepresent in your paintings. I was so inspired that I felt likestarting 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 beGeorgia O'Keeffe, Mark Rothko and Van Gogh. ProbablyI can't escape a non-intentional influence from them.

If you could meet any artist past or present whowould you like to meet and what would you talkabout?The abstract expressionist Mark Rothko, and we'd talkabout the most intriguing aspect of life: what we can't seewith our physical eyes. I think this pervades his greatestpaintings.

What bothers you the most about the art/design in-dustry nowadays?The fact that it's not sensitive enough to some new andnot-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 ex-pand the art market.

Who is the most exciting artist working today? Why?I have at least three in mind: the Spaniard SantiagoCarbonell, the Argentinean Norma Bessouet and theJapanese Shima Yoshida. The three of them convey anunusual beauty and have impeccable technique.

How would your life change if money were no ob- ject?

See de Echevarra, page 3

Sienese Landscape


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de Echevarra, Continued from page 2

I don't foresee any substantial change.

What's been the biggest challenge you have encoun-tered in your career?The lack of knowledge about myself. That's why it tookme 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 Ihave to produce my best possible art.

How would you like to be remembered 100 yearsfrom now?If such a thing happens, I'd like to be remembered as anartist who put the viewer in contact with an intangiblereality.

Bonnie Rothchild is a sculptor based in Manhat-tan. She was born in Brooklyn and grew up sur-rounded by her grandfathers paintings and fre-quently visited the Brooklyn Museums Greek and Ro-man sculpture galleries.

In addition, Bonnie has traveled to and has been influ-enced by the art of South East Asia, Africa, and theSouth Pacific.

In April 2007 she won first prize in the Pen and Brush61st Annual Sculpture Exhibition, and in May 2007, shewas one of the winners of the Manhattan Arts Interna-tional 24th Anniversary competition, which featured oneof her sculptures in its online exhibition.

She has studied with Chaim Gross, Bruno Lucchesi,Paul Lucchesi and Nigel Konstam in New York City andin Tuscany, Italy.

S teve Erenberg'slife, both personaland professional,has always revolvedaround art. He comesfrom an architectural anddesign background, andstarted his career byworking for the famousindustrial designer, Ray-mond Lowy.

Erenberg has works in many different media and hasshown his work in a number of different galleries, includ-ing the Hudson River Gallery in Westchester, the VorpalGallery in Greenwich Village, Katonah Village Gallery,and The Flatiron Gallery in Peekskill. Among his manycredentials are one-man shows at the Croton-on-Hudson

Library, an exhibition at the celebrated Black Cow andpaintings that are now in the permanent collection of theNational Arts Club in Gramercy Park. In addition to paint-ing, he sculpts in bronze and his masks are in privatecollections in Japan and throughout the United States.Professionally, he has worked with the architect PhilipJohnson and is responsible for Donald Trumps landmarkglobe at Columbus Circle as well as the recipient of hun-dreds of graphic design awards including Clios and Bestin Shows. He has achieved editorial recognition in TheNew 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 andcollector of early technology, he specializes in what heterms "Industrial Anatomy and can be found at his web-site radio-guy.com.

"Entomechanica" is the premiere of a new series, a col-lection of larger than life watercolors of a variety of differ-ent insects. First, Erenberg plots and scales a grid thatwill form the substructure of the work. The next "layer" isa detailed painting on top of which he re-plots and bringsto the surface the geometry and architecture of the bug.This layering grants us a glimpse into the artistic proc-ess. We can see the artist at work. The paintings have aposter-like quality. While they look realistic they are byno means, as Erenberg is quick to point out, scientificallyaccurate, but simply his interpretation of their color andform.

Why bugs, you might ask? The answer elicits a multi-tude of responses from the artist. The creatures infinitevariety tops the list. He goes on to enumerate their vividcoloring, their iridescence, their mechanics, their con-trasts, and their symmetry. "They take so many differentshapes and forms," says Erenberg, "They're highly spe-cialized, many are really bizarre, and theyre so machine -like." Its the mechanics, which appeal most to the artist,who never paints his bugs walking or flying or buzzing.

See Erenberg, page 9

STEVE ERENBERG:NEW ASCA MEMBER

BONNIE ROTHCHILD:NEW ASCA MEMBER


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teered to call them to follow up. Robert Fabian haspassed away.

It was noted that there is a discrepancy between theapplication form in hardcopy and the application form onthe website. The hardcopy is more updated, and requiresimages in CD. The one in the web requires 35 mm slidesor transparencies. It was decided that all members update

their files with CDs. To save on postage, slides on file willbe returned on the next meeting. Those who want their slides mailed back should first send in SASE padded en-velopes.

Bobby distributed copies of the new 3-fold membershipbrochure, which is a call for artists of quality. It was de-signed and produced by Isabel Shaw, with text written byFrank 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 Simp-son.

5. CD BOOK Jeremy Comins, who informed ASCA about todays op-portunity to meet at New Art Center, is putting together everyone s work in the ASCA CD for this purpose. Thosewho have not yet mailed their single image on CD arerequested to do so at this address: Jeremy Com-ins.1776 East 19th St. , Brooklyn, NY 11229

The CD book will be submitted to museums, such asthe Hammond Museum, as suggested by Bobby and theQueens Museum of Art, as suggested by Harriet Fe-Bland.

6. ASCA 91 st ANNUAL EXHIBIT AT THE BROOMEST. GALLERY

The forthcoming annual needs a theme and an opentitle. Jurors prefer exhibitions with a theme.

Harriet Marion volunteered to be in charge of the receiv-ing committee. Volunteers are also needed for writingpress releases and distribution to media; Olga Kitt, thesocial secretary will oversee this.

Gallery-sitters are needed during the exhibition period;some members signed up.

We need a design for the postcard invitation. Inciden-tally, Bobby acknowledged and thanked Harriet Marion for her beautiful design for last years postcard invitation. The reserved dates for exhibition at Broome Street Gal-lery are November 9- 22, 2009. Delivery date is Novem-ber 9. - Reception is November 14. Details will be an-

nounced 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 thegallery during the annual art exhibition. Another idea wasthat this could also be done outside of the annual exhibi-tion. Featured Artists: Two names can be picked out froma basket. These t wo artists works will occupy the frontsection of the gallery. Their names will however not be

MEMBERS PRESENT: Bobby Schiller, President Harriet Regina Marion,Allan Simpson,Doris Wyman,HedyOBeil,Imelda Cajipe Endaya,Raymond Weinstein,

Miriam Wells,Hank Rondina,Ray Shanfeld,Alain Ro-land,Harriet FeBland,Jessica Iwamoto, Sueyoshi Iwa-moto,Nancy Dunn,Olga Kitt, Estele Levy,Rose Sigal Ib-sen,Marie Mutz

MEETING CAME TO ORDER: Bobby Schiller called themeeting 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 hisspace. She enumerated the following topics for discus-

sion: gallery tour and introduction, treasurers report,membership, CD book, Broome Street Gallery, committeemeetings, 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. Currentbalance available in savings account is $6,229.

Bobby mentioned that ASCA has $11,000 in Certifi-cates of Deposits, and said it would be wise to keep themoney that way, using only the interest. She asked Harriet FeBland whether ASCA has other accounts, andHarriet said that that information would have been knownby Joe Lebrano. Bobby said that there are outstanding bills and reimbursables which still have to be deductedfrom the preceding report.

4. MEMBERSHIP: Ray Weinstein reported that eleven new members were

accepted within the past year and a half and that by thismon ths end, there will be six applicants to be juried.Bobby informed the body that there are currently sixty-fiveto seventy members in the list. Members called atten-tion to the fact that some mailed and e-mailed noticeswere not received. Bobby stated that some older mem-bers had not paid their annual membership fees in 2008and in 2009; letters mailed have been returned. Sheasked if these members should be removed from the list.It turned out that two have been very ill and one has beenout of state and are within contact; Doris Wyman volun-

MINUTES OF THE ASCA GENERALMEMBERSHIP MEETING


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W e need volunteers to help continue thesurvival of our ASCA Newsletter. We wel-come art-related articles, reviews of exhibi-tions 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]

included in the basket for the next five years. It is better tohave a salon type of exhibit where artists, not curatorschoose their work.

8. ASCA AWARDSIn relation to the annual exhibition, the matter of awards

came up as an issue. Doris Wyman, chair of the PrizesCommittee, reported that Jeremy Comins (who is unable

to attend this meeting) wishes to air his vehement objec-tion to ASCA giving out awards and prizes. ASCA awardsare being given in the names of persons being honored.Doris clarified that Jeremy is himself a multi-awardedsculptor, and has long been with ASCA for years; his fa-ther having been an ASCA member too. A lively discus-sion ensued.

8.1 Jer emys 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 art-

ists, not curators, choose their work.

8.2 Those who seemed to agree with Jer emys objections added:

a. In time of economic downturn, ASCA should not giveprize monies.

b. ASCA has not become friendlier, more cohesive, nor multi-level sharing.

c. Will members submit lesser works without competi-tion and awards?

d. Whats the use of getting jurors from museums?Did we ever get our members work acquired or exhib-ited 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 ASCAartist s works, which otherwise they may not ever see at all. We try to get jurors with different kinds of ideas andviewpoints.

e. Members do not really feel competitive; each re-spects each other s 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 mem-

bers 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, inorder that ASCA can pay for venues of exhibition, andto get the organization into the media. Gerda Roze ischair of fundraising.

10. NEXT NEWSLETTER Bobby reminded everyone about their submission of

articles, events, and images for the next newsletter toHank Rondina. Hedy OBeil will write about an artistwho is famous and whom we admire. Olga Kitt will writeabout the Studio School.

11. EXHIBITION PROSPECTS a. Imelda announced that as part of the call for ASCA

members cluster exhibits, she has tentatively arrangedfor a joint juried exhibition with the Society of PhilippineAmerican Artists (SPAA) at the Philippine Consulate at556 Fifth Avenue. The celebration of Women s History Month, to be held March 15-26, 2010. Members whoexpressed 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 websiteof 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 NewYork City, which she directed until 1993.

Her work is collected by PepsiCo, NY, Cincinnati ArtMuseum, The Library of Congress, Zimmerli Art Mu-seum, Smithsonian Institute, Grounds-for-Sculpture,Hudson River Museum, as well as other major collec-tions. With over 55 solo exhibitions since the 1950s, aswell as being documented in scores of books and criti-cally reviewed in hundreds of periodicals. FeBland hasserved as President of the American Society of Contem-porary Artists.

Legendary art critic, Paul Mocsanyi observed that,FeBland humanizes geometry, by revealing its myster-ies and its beauty, declaring her to be,

The poet of geometry.
mailto:[email protected]:[email protected]


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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 spacepermits, they may be included in upcoming editions of the Newsletter. Remember to include your name, the titleof your work, the medium, and an arrow showing whichside is UP. Mail your photos to Hank Rondina, 209 Lin-coln Place, Eastchester, New York 10709, or e-mail your

jpegs to [email protected] de ECHEVARRIA Opening to Another World

KELLEY RYAN STENGELEAtomic Kitchen

STEVE ERENBERGChrysler

BONNIE ROTHCHILDSavannah

HARRIET FEBLANDSecrets of The Green Box

Colored pencil drawing


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ELVIRA DIMITRIJDusty Rain

JEREMY COMINS Crevice

Watercolor on paper

HANK RONDINAPlymouth

ELINORE BUCHOLTZEnchantments In Full Bloom

LESLIE SHAW ZADOIANWhat If

ROSE SIGAL IBSENSunflowers Following The Sun


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from the instrument, leading to complete freedom of ex-pression.

At first, line is able to move along a straight path invarious 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, conver-gence, and intersection provide adequate material for primitive graphic expression.

Where their extremities meet and where they delineateparticular spaces, lines create new beings planes.Both straight lines and the planes created by them re-main within the confines of geometrical figures the tri-angle, the square, the rhomboid, the trapezoid, etc.

The graphic work that speaks by means of these formsbelongs to the first sphere of graphic language a lan-guage of harsh, sharp expressions devoid of resilienceand complexity. This sphere of draftsmanship, with itslimited means of expression, is akin to a language with-out declensions, conjugations, prepositions, or prefixes

just as primitive peoples, when they first try to speak aforeign language, use only the nominative case and the

infinitive mood.There then follows the lines first ever liberation fromthat most primitive of instruments, the ruler,

The clatter of the falling ruler speaks loudly of totalrevolution. It acts as a signal for us to enter the secondworld, the world of freer graphics.

If we return to the moment of the lines inception, to thepoint, we see it turning from the very outset, constantlyand evenly to one side. Here in this new realm, we en-counter another unfamiliar being the curved line in itsschematic form: the semicircle or parabola.

This form is a freer line, but it is still subject to that pre-cise and primitive instrument, the compass, and canthere fore be given precise designation.

We have still not left behind the major area of graphicsthat, encompassing the two above mentioned spheres,can be called draftsmanship.

The clatter of the compasses falling still does not com-pletely liberate line from its subordination to the instru-ment. Yet the emancipation of line from subordination toexternal conditions constitutes its penultimate phase.The line produces a long series of new movements, an-gular and curved, not lacking in a certain capriciousnessand unexpectedness, but which, all the same, can beaccommodated within the forms described by various

curved rulers. This is the world of the arabesque, theworld of the graphic arabesque, often seeming decep-tively like a world of total freedom, but which conceals itsservile subordination to the more complex instrument.Even there, albeit in hidden form, the mechanical actionremains the distinguishing characteristic of this lan-guage.

This language is like the official style of state docu-ments, where strict limits of conventionality hamper free-dom of expression.

Kandinsky Continued on page 9

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 hepublished six major articles on aspects of modern art anddesignThe following is On Line. It is the second in-stallment in an essay entitled Little Articles on Big Ques-tions. The first installment, On Point appeared inASCAs Winter 2008 -09 Newsletter.

II. On Line

Following a well-tried path, an established approach, Itear the veil from the fate of a new entity that owes itsorigin 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 signshaving an outer expediency and practical meaning. Welike wise encounter these two signs in written and printedlines:

First, the short stroke, the tie, or the hyphen-Second, the long stroke, the dash----The reader, transformed into a spectator, gradually

extracts the outer expediency, then their practical mean-ing from these signs and on a clean sheet of paper sud-denly obtains a second graphic sign, a second graphicentity ____________________line.

From these two graphic entities - point and line - derivethe entire resources of a whole realm of art, graphics.

The point is now able to increase its size ad infinitumand becomes the spot. Its subsequent and ultimate po-tential is that of changing its configuration, whereby itpasses 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 specialdescription.

The transference of line to a free environment pro-duces a number of one. Its practical meaning becomesabstract. As a result, the line disclosed an inner soundof artistic significance.

A fundamental turning point is attained. Its fruit is thebirth of the language of art.

Line experiences many fates. Each creates a particular,specific world, from schematic limitations to unlimitedexpressivity. These worlds liberate line more and more

II. ON LINE Wassily Kandinsky


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Kandinsky Continued from page 8

From the fateful paths of line the independent hand

seizes the ultimate achievement of the ultimate free-dom the freedom of unconstrained expression.

The line curves, refracts, presses forward, unexpect-edly changes direction. No instrument can keep up with

it. Now comes the moment of maximum potential, of atruly 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 re-

lated lines (however slight their similarity) according todifferent headings, to find a definition that will at leastgive some clue as to their essential qualities: Hence theclassification of lines according to the nature of their ef-fect on the spectator. For there can and do exist cheer-ful lines, gloomy and serious lines, tragic and mischie-vous, stubborn lines, weak lines, forceful lines, etc., etc.In the same way, musical lines, according to their char-acter, are denoted as allegro, grave, serioso, scher-zando .

But these attempts of the theoretician are, as far asline is concerned, only partly justified. Such denotationare rudimentary and cannot encompass the depth, thesubtlety, the certain uncertainty, the lucid simplicity, andelaborate complexity of the innumerable forms of inde-pendent lines. Even if we accept the theorists classifica-tion and denote a certain line as serious, the line whosenature is thus characterized will simply ridicule this defini-tion by the mischievous play of its separate parts. Thetragic will reveal elements of cheerfulness; a weak line ill,at one curve or another, manifest the persistence of itsaspirations; a thin line will thicken unexpectedly, only tocompress itself once more into a hairs breath. And whatwill the classifier say when he looks at the dispassionateline, whose power resides in it5s lack of expression?The sensitive spectator knows that inexpressivity can bemore expressive than expressivity itself.

Words have lost their power. Only and adjacent artform, e.g., music, can create something resembling thespirit of graphics through its own means of expression.The language of graphics, however, in all its complexityand subtlety cannot be replaced, even by another artform.

The limited space allotted to my little articles does notpermit me even to touch upon a question of immeasur-able importance linear composition.

The aim of this article will have been achieved if thereader discovers within himself the ability to examine thelife of a very special world, to see it with his own eyes, totouch it, to sense its aroma and it6s own language inimitable, so fine and of such great importance.

Erenberg , continued from page3 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 over-looked. "Entomechanica" forces us to take a closer lookat the smallest things that surround us creating a newsense of awareness, of rediscovery.

Kelley RyanStengele is anartist living andworking in New YorkCity. She received her Bachelor's of Fine Art

from Texas State Uni-versity in 2005 with anemphasis in Painting.

Living in Manhattan has become reflective in her workas the city is a constant inspiration for her. Kelley enjoysworking 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 sig-nature of her work. Kelley's artwork originated as realismand portraits, but as she matured her paintings becamemore stylized and certainly unique. She now takes her love for painting women, interiors and architecture to amore whimsical level and uses color and pattern as a

means of abstraction.

Leslie Shaw Zadoian, returned to fine art after 25successful years as agraphic designer/editor in New York for severalmajor publishinghouses 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 countryroads. Favored trash of the moment includes dead autoparts, rusted tools, and discardedfruit crates.

Starting with a shape, a color, a texture, and/or a con-cept of space, she combines ordinary elements in unex-pected contexts, in order to experience them aestheti-cally and emotionally. These transformations, are firmlybased in the here and now and provide an opening intonew possibilities and realms beyond the everyday world.

KELLEY RYAN STENGELE:NEW ASCA MEMBER

Abundance of Time and Space Acrylic

LESLIE SHAW ZADOIAN:NEW ASCA MEMBER


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By Olga Kitt

New York School, Wednesday, February 25th,

2009 Panelists: Michael Brenson, David Cohenand Mark Stevens

O n a recent cold wintery evening a warm discus-sion was held at the Studio School at 8 WestEight Street, in Manhattan. The panelists werewelcomed by an audience of some ninety artists, cura-tors, art students, teachers, critics and friends: all inter-ested in knowing what went into the production of a pub-lished biography. On Wednesday evenings, at 6:30 PM,the Studio School of Drawing, Painting and Sculpture,situated in the old Whitney Museum building, invites crit-ics and art historians to speak at such public lectures.Tuesday evenings are reserved for artist speakers.

The panelists on this evening were writer, critic andteacher, Michael Brenson, who has been working on abiography of David Smith, David Cohen, who is re-searching the life of R.B. Kitaj (has written critical reviewsof exhibitions for the now defunct New York newspaper,The Sun, also teaches at the Studio School) and MarkStevens, who with Annalyn Swan, won a Pulitzer Prizefor their biography de Kooning: An American Master.

An examination of the art bookshelves in any publiclibrary or bookstore will turn up large numbers of biogra-phies of artists to say nothing of autobiographies, mem-oirs and journals. American artists, Keith Haring andFaith Ringgold raised interest in their work with their writ-ings. What visual artist has not toyed with the possibilityof verbally explaining themselves and their work? Of-ten, no biography is written before some autobiographyis published. By the time an author decides to write abiography, a considerable amount of material has al-ready been written about the artist and the artists work.So, the amount of material the biographer examines isoften immense and his hired researchers are kept busy.

Michael Benson, so interested in David Smith and hissculpture, that he would be happy to spend his entire lifestudying this subject, said increased knowledge of Smiths life magnified his own understanding of the art-ists work. Those who feel an artwork can stand alone

without the artist miss some of the ramifications of thework. The visual experience can be enriched by knowl-edge of the artists philosophy, personal burdens andtriumphs. Besides, the life of an artist may be interest-ing.

Mark Stevens first wants to write a good book. Hescurrently working with Annalyn Swan on a biography of Francis Bacon. With a subject like Francis Bacon, onewould expect provocative stories. Among the late novelsof 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 inthe book are well known to many people who ere a partof that scene. However, Updike enlarged common recol-lections, changed names and combined the qualities of the characters of different artists into composite artists,who became Abstract-Expressionist personalities in thenovel. While a Lee Krasner like character was easy toidentify, Jackson Pollack seemed to fade in and out of

focus as did Willem de Kooning. It was a well writtenbook by most accounts. When the panelists were askedwhat they thought of his good book all indicated they hadnot read it. Although Stevens had bought the book, hehad not read it. He found Updikess work too precious.

David Cohen, who has immersed himself in the worldof contemporary artists, asked the inquirer how she feltabout the book. Ambivalent was the answer.

As an artist I wonder why anyone would be interestedin an artists life. The artists work says what needs to beknown and it displays the best qualities of the artist. It issaid that the greatest artists put their work above every-thing 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 artistthat comes on the market.

Anyone who is interested in attending any of the publicprograms of The Studio School should call the school at1-212-673-6466 and ask for a schedule.

We 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



A PANEL DISCUSSION ON THE ARTOF BIOGRAPHY

MEMBERS WHO SUPPLIED DIGITALIMAGES ON CDs WILL BE ABLE TO

PICK THEM UP ATTHE NOVEMBER SHOW


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

Treasurer Allan SimpsonCorresponding Secretary Imelda Cajipe Endaya

Recording Secretary Lisa RobbinsSocial 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 WRITERSOlga Kitt, Dr. Jose Manuel Rodeiro, Hank Rondina,

Barbara Schiller, Raymond Weinstein

CONTRIBUTING PHOTOGRAPHERSHank Rondina

COPY DEADLINE FOR THE NEXT ISSUE

June 15, 2009Send your material to:

Hank Rondina, 209 Lincoln Place,Eastchester, New York 10709;

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

ASCA Newsletter is published 4 times a year.Copyright 2009 by ASCA

Permission is required to reprint any portion of this newsletter.

membrance by Vera Schwarcz, Director of the Center for East Asian Studies, Wesleyan University-ALSO-wasa participant in A Festival of Folk Arts, Feb. 1, celebrat-ing the year of the Ox-ALSO-demonstrated her calligra-phy techniques at the East West Caf , 78th Ave, NYC-ALSO- Exhibited at the GNA Art Exhibit at the GreggGalleries , National Arts Club, NYCLEE,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. 3 rd-Nov. 22 nd -ALSO- Selected into theXXIX Gredos Prize for Painting, City Council of SanPedro Arenas, Avila, Spain

Iwould 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 re-worded the application form and are now accepting digi-tal images as a means for jurying new members.

I want to thank Jessica Iwamoto, who generously as-sisted me on the membership committee. Her computer skills were invaluable.

I am presently planning for a meeting in June. EstelleLevy is graciously arranging for us to use the meetingroom in her building. A pot-luck supper seems idealas a way for us all to have an opportunity to get together.

We will have a chance to sign up for jobs for our upcom-ing exhibit at the Broome Street Gallery.Jeremy Comins and Harriet Marion have almost com-

pleted the work on our CD Book. It will be done by thetime we have our meeting. I will bring my computer withme 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 aswe know who our new members will be!

Spring is finally here and I wish you joy in the upcom-ing good weather!

Sincerely,Bobby

A MESSAGE FROM BOBBY SCHILLER, PRESIDENT

W e need volunteers to help continue thesurvival of our ASCA Newsletter. Wewelcome art-related articles, reviewsof exhibitions and your upcoming shows.

Send your material to:Hank Rondina



RAYMOND WEINSTEIN MEMBERSHIP DIRECTOR

MEMBERS WHO SUPPLIED DIGITALIMAGES ON CDs WILL BE ABLE TO

PICK THEM UP AT THE NOVEMBER SHOW

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 AREBRINGING (914) 667-5349 [email protected]

newsletter 34 spring 2009

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