newsletter 41 winter 2010-2011

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american society of contemporary artists NUMBER 41 WINTER 2010-2011

AT BROOME STREET:A LIVELY MIXED BAG

By Estelle Levy

We members in ASCA are fortunate in having BobbySchiller as our President. Since she became Presi-

dent, the shows she unearthed have been ones to whichall of us could apply. She has a very democratic bentfrom which we all have benefitted. She is inclusive,genuinely friendly, markedly fair, and especially compe-

tent. Sadly, these fine qualities did not combine to pro-tect her from being felled by the dreaded disease of Can-cer. While some become too busy to do, to help, to givea little of their own time, Bobby (cancer and chemo)made herself available as best she could. Bobby focusedon the Jersey Show delegating to get the needed tasksdone for it and on the Annual as well. She actuallyworked hard from home making sure the tasks for bothshows were taken care of. She could have said, ―I‘ll stopnow, I am just too ill to be involved.‖ Rather than quit,she strived to be stronger than the impact the chemo hadon her. Clearly, she is not a quitter. Bobby was problemsolving, delegating, double-checking, following up be-

tween her stints with chemo for both shows. Being deter-mined, she attended the Jersey Exhibition despite thechemo and its impact on her. She not only arrived togreet the Jurors for the Annual, she also attended theAnnual‘s reception. Actually, without her direction, inputand efforts our 2010 Annual might not have happened,and she enlisted her husband Charles to do ASCA workfor her when she could not. Since Charles, so willinglydid much for her and us as well, perhaps we can Knighthim or anoint him DE FACTO ASCA MEMBER. (Isn‘t theuse of ―de facto‖ perfect when referring to a lawyer?) Our own scheduling involves chores, artwork, shows, andfun. Bobby‘s scheduling involves going for chemo, han-

dling it as best she can while hoping its negatives will notlast so long. Her desire to be strong enough and wellenough to schedule family and ASCA activities in be-tween is quite impressive. In this, I feel I can speak for the entire membership when I say thank you Bobby for all you have done for us and we heartily wish you thecomplete recovery you deserve.

THE SHOW MUST GO ON—AND IT DID

Gallery and Studio--By Marie R. Pagano

The 93rd Annual Exhibition of the American Society of Contemporary Artists is aptly titled "What's New."

For despite its venerable history, the ASCA is one of themore forward-looking of such artist's organizations, lessmired in tradition than some others, and its annuals in-variably yield a number of surprises. Since the ASCA

boasts close to 100 members and a good many partici-pate in this event, it is naturally impossible to include allof them in even a fairly lengthy review. One can onlyhope to give a sampling of the show's quality and diver-sity by selecting a few works to describe and reproducingimages of others.

The ancient medium of encaustic is employed in afresh contemporary manner by Annette DeLucia Liebleinin "Waiting," where a long procession of silhouetted fig-ures is set against a tactile monochromatic ground. Thepainting has an ominous resonance, evocative of breadlines or other situations in which people are stripped of their individuality, and thus the human identity and dig-

nity. Margo Mead, on the other hand, generalizes thehuman figure to make a more political point info work inwatercolor, ink, and oil crayon on rice paper, "Droppingthe Ball on Global Warming." For here, the male andfemale quasi-deities fumbling with the globe as thoughit's a hot potato in a celestial setting are symbolically styl-ized in a manner akin to Rockwell Kent's mythic figures.

Nature is transformed in Linda Butti's mixed mediawork on paper, "Autumn Tree," with its radiant rainbowauras. On the evidence of this one piece, Butti' appearsto be a consummate colorist with variegated strokestransmit a chromatic intensity that imbues even a singlesubject with a visionary quality. By contrast, Sachie Ha-

yashi imparts an almost hallucinatory Surrealism to adesolate landscape where the flesh-colored bouldersappear to morph into figures, in the oil on canvas,"Ritualistic Dance." In her intricately configured metalsculpture "Poetry of Life," created with copper, brass,and aluminum, Julie Joy Saypoff seems to present our

See Broome Street page 3

ALERT——- ASCA’s Annual Exhibit Will NO LONGER take place at the Broome Street Gallery. You are asked tohelp find a space for our 2011 Annual. As you go Gallery Hopping, look and ask. If you find something, contactBoard Member Ray Shanfeld.



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Born – December 13, 1943, Deva, Romania1968- 1970- Attended School of Folk Art, Bucharest ,Romania.

1976- received the Jury`s ―Special CommendationAward‖ at the Exhibit for Amateur Artists in Bucharest &the ― Gheorghe Anghel Prize‖ for Sculpture .1979- His first one –person show in Bucharest, followedby four others in Bucharest, Cluj, Frankfurt and NewYork. Included in ― Romanian artists in the West‖ – American Romanian Academy for Arts and Sciences,Los Angeles, 1986.1982- Left Romania to settle in Germany and later inU.S.A.Critical survey :… ― Mihai Caranica has a great feeling for purity of shape. His masters are Brancusi and Arp. From the

former he learned to love light effects on pure shapes…from the latter he learned the tenderness of forms gentlyembracing in slow, voluptuous movements as well as thesensitivity and warmth of dreaming shapes, greeting thelight of fantasy‖… ( Ionel Jianou ) … ― Mihai Caranica s sculpture embodies a poetry of peacefulness, translated into harmony of contours inspace, in the colour of stone which irradiates a dreamystate‖… (Dan Grigorescu ) STATEMENTI have a special relationship with sculpture as a medium.My earlier studies in Geology allowed me to have amore intimate knowledge of my primary materials. Know-ing the inner secrets of stone helped me to anticipate the

reactions of the material to the various interventions inthe process of sculpting. This approach shapes the verygenesis of my subject matter. The stone talks to methrough the language of textures and structures, direct-ing me to the idea that would be finalized in the finishedsculpture. In this subtle dialog I seek a quiet harmonythat pleases the eye and the soul.

By Estelle Levy

It is ASCA‘s delivery day at Broome Street Gallery. Art-

ists arrive with their work to check in, unpack, chat for a while leaving behind a mounting pile of bubble wrap,protective covers, string, paper, roller carts, paints,boxes and other paraphernalia. The work rests helter-skelter against walls, one against another or propped upon pedestals. Finally, there is the wait for the upstategroup delivery by Art Mover Mike DePompeo, making it atotal 65 ASCA artists who checked in. Yet the next daywhen the Jurors arrive and for the Reception, the chaoshas been transformed into a beautiful panorama of meaningful art. This is the result of the work of BRUCEKOZMA who is hired to apply his unique skills in organiz-ing our work for display.

Bruce himself is an artist—perhaps an ―outsider art-ist,‖ self -taught in the specialty of stained glass. His jour-ney began in 1977 in Stamford, CT when a friend whohad been staying in Bruce‘s home moved out, left behindpieces of glass and some tools enabling Bruce to experi-ment with it. He soon came to recognize stained glass asHIS medium of choice.

Later he established a business in Florida—TheRainbow Connection---where he produced commercialand residential commissioned work while also develop-ing his own artistic style. Bruce in 1986 opened TheRainbow Connection Gallery in Buffalo, N.Y. where heand other local artists exhibited their works. Bruce said:

―I watched the reactions of gallery patrons andlistened to their comments as they looked at the work.That helped shape ways of experimenting with gallerypresentations to empower viewers to have a positiveand memorable gallery experience.‖

When Bruce came to New York City, he exhibitedand later worked at a Soho gallery where he was generalmanager and freelance curator. He became known for his annual Summer Salon Series, an exhibition that in-cluded selected artists‘ work along with his own.

See Bruce Kosma page 9

THROUGH THE EYES OF THE BEHOLDER:BRUCE KOZMA

MIHAI CARANICANew ASCA Membe

Mihai Caranica` “Draped Figure 3”

AN SOS ALERTAs you can see by the above article ASCA’sAnnual Exhibit Will no longer take place at

the Broome Street Gallery. ThereforeAll ASCA members are asked to help find

a space for our 2011 Annual.As you go Gallery Hopping, look and ask.If you find something, say something to

Board Member Ray Shanfeld.



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By contrast, Dorothy Koppelman incorporates toread teapots and various cooking utensils within an ab-stract grid that morphs on closer inspection into a kitchenin her beautifully organized composition, "Cooking on aBrick Wall."

Less covert modes of abstraction also make astrong showing: as seen in Elaine Alibrandi's tactile com-position and vibrant yellows and greens, veined by intri-

cately interwoven dark lines, suggesting an arboreal in-spiration. And Leslie Shaw Zadoian's, covering formsproject and inexplicable sense of tension in "Situation," a

darkly broodingmixed-media workon canvas.

Then there is

Rose Sigal-Ibsen,well known for her personal approachto Asian ink paint-ing, and repre-sented by one of

her more abstract excursions, with wet into wet washesthat flow and spread out shadowy ways, evoking myriadassociations in the matter of Rorschach blot. By con-trast, Miriam Wills, and other artists familiar to many NewYork gallery goers, weighed in with "Coloring Me," acomposition in acrylic and collage on canvas featuringher characteristically fractured and packed neo-Cubist

planes and vibrant primaries.As the works briefly noted above and the ones re-

produced with this review indicate, the ASCA's 93rd An-nual Exhibition is a varied and reporting free-for-all andwell worth adding to ones gallery hopping itinerary.

ASCA AWARDS LISTED ON PAGE 9

Broome Street Continued from page 1

daily existence as a kind of antic merry-go-round. Cutoutfigures cavort within and around an architectural con-struct suggesting a fancifully styli skyscraper conjured upby Alexander Calder, with whom Saypoff seems to sharea talent for making metal take flight-even when thepieces stationery rather than mobile.

By contrast, Bonnie Rothchild exploits the weighty

quality and innate earthiness of terra-cotta to lend gravityto a semiabstract, sensually simplified female figure witha mysterious womblike opening of the located in its up-

per torso, pregnant with an egg shaped inner form. Thetitle of Rothschild's piece, "Intertwined," only serves toheighten the mystery, leaving the viewer tantalized by avariety of possible interpretations.

Another sculpture-this one by Lea Weinberg-thanksa quite different statement with a similar title,"Entangled." The medium is wire mesh and although the

shapes it takes are mostly abstract, they strongly sug-gest a couple struggling against the ties of codepend-ency, yet bound by the stronger force of destiny, as theywind around each other like wisps of smoke.

Still life also makes an appearance in distinctly dif-ferent guises: In her oil painting "Still Life with Susque-hanna," Georgiana Cray Bart presents us with an ar-rangement of bottles and a bowl of apples, all in subduedgreen or blue hues set before a window looking out upona body of water and autumnal trees. The serenity of thescene owes much to Bart's mastery of subtle color har-monies.



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By Estelle Levy

What really happens when the jurying takes place?This question is being addressed. Of course,

something would be seriously wrong if one could providethe exact details of what transpires. Nevertheless, onecan surmise, one can deduce, one can infer! After formu-lating my own view of what could go on during a Juryingprocess, I contacted some whose assessment of theprocess could be trusted. I found there wasconcurrence. Yet the following view is subjective be-cause no one else should actually be present.

As a way of assuring ASCA Members that no overtor covert ASCA influence was involved, I can say withcertainty not one ASCA Member was present during theJurying. ASCA President Bobby Schiller and her hus-band Charles came to the Gallery. I met them there. The

Jurors were greeted and given the list of award catego-ries. They were advised to first walk around alone. ThenBobby / I and Sitter Lisa Robbins went across the streetto the Cupping Room and hung out. Charles was left be-hind in the Gallery to read his paper while the Jurorslooked around and made their choices.

Each year ASCA seeks to find three Jurors whoagree to jury without pay who are willing to give of their own time for their own myriad reasons. The only perkinvolved is free lunch in the Cupping Room. At that time,personality clues can be gleaned even though the resultsare not yet shared.

It is expected the Jurors will be professional, ethical,and responsible adults who guard and protect their ownreputations as they Jury for an organization such asASCA. It is expected –sometimes asked—that Jurors notfocus on or pitch for anyone they might know or wish topromote. The goal is to be objective and fair to the entiremembership. However, it cannot be assured that suchprofessional expectations and values will be honored or actualized. It is suggested they first go around alone; onecan assume each one‘s notes will differ considerablyfrom the others. Clearly, the process can become one of negotiations, maneuvers or will. Some could be very se-rious and thoughtful about the responsibility assumedwhile others could have their own agenda to actualize.Thus, the personality of the Jurors becomes a factor in

final decisions. The personalities could range from beingcooperative to compliant to being willing to go along toassertiveness to being manipulative.

If, for example, all three Jurors have cooperative,professional personalities, there could be an art-focused,serious discussion about content, quality, materials, andskills. Each, as respectful peers, could point out qualitiesin their respective choices getting the others to see whatmay have been missed. If, on the other hand, one of theJurors has an agenda or a dominant personality or the

See Jury page 10

WIRE MESH SCULPTURES

CONVERT TO BRONZE

By Lea Weinberg

Icreate Semi abstract sculpture in bronze, wire mesh,mixed media. The wire mesh is my main sculpting

medium. I always start working with wire mesh, evenwhen the finished artwork will eventually be bronze.

The first step of my process begins with a three di-mensional drawing‖ Using a piece of flat wiremesh instead of paper, my fingers turn into pencils andcreate the initial form. Then, I continuewith various tools. My wire mesh needs to be flexibleenough to work with, and yet strong enoughto keep its shape. I use wire mesh of different thick-nesses, combined with mixed materials.

When I create a bronze sculpture, I am actually work-ing on three different sculptures:First, I create a wire mesh sculpture. Second, I cover the wire mesh completely, usually with concrete, working

gently on details. The sculpture is now solid for the moldmaking. Third and last stage is preparing the wax modelfor the lost wax process. Finally, the sculpture is cast inbronze.

My sculptures and reliefs use the human form to ex-press the emotional interaction between individuals, re-vealing figures entwined together. Each sculpture startswith one female figure, which evolves intuitively into ad-ditional images, expressing Togetherness. As an exam-ple:

WhereTo Where - Do I Prefer - To be?WhereTo - My thoughts - Are leading me?

I am- here and there - My thoughts - Are everywhere.

My bronze sculptures, alongside the wire mesh art-works are both multifaceted. While thebronze‘s entangled structures are solid, the semi trans-parency of the ethereal wire mesh allows the viewer tosee into and beyond the flowing forms. My motto: In life,a single glimpse is never enough…

Attachment At first sight, one can see a seated woman, from the side-a couple, united together as one body. Facing the front,you find a baby or a child. A whole family in one piece of bronze.

MANY—MORE THAN USUALQUESTIONS ASKED



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Close ConnectionThis sculpture represents motherhood. The son is cre-

ated out of his mother‘s body, a recall of biblical Eve‘s

creation out of Adam‘s rib. The mother‘s breast is also

the son‘s head, so they are one body, inseparable

Connected Vewing the front, we see two fig-ures sitting very close to each

other- mother and daughter, unwill-ing to disconnect the umbilicalcord. It could also represent anyrelationship between two humanbeings. From the side view, a thirdcreature emerges out of both, asymbol of infinite connection.

WhereTo Where - Do I Prefer - To be?

Reviews of Lea’s work Marion Royale Gallery, Beacon NY, represents her

bronze sculptures in the Beacon area. In August 2010,eight bronzes participated in A Three Artists Exhibition

―Uncommon Sense‖ at the gallery. The ad stated‖: …LeaWeinberg crystallizes her thoughts in pleasantly haunting bronze figures which appear to have grown like stalag-mites from an organic verve…”

In February 2010, Artcards a review by Peter Neo-fotis: “…One might also spend some time contemplating Lea Weinberg’s love-filled bronze’s Whereto and Attach-ment. The two human sculptures are evocative of geo-logical formations, formed by a miraculous wind or wa-ter… ―

"An Artist's Palette, From Dark To Light."

Is a memoir of Jessica Iwamoto's life from 1959 to1989. It is being published now and is available on

Amazon and Barnes and Nobel.Jessica was a talented, successful, sought-after artist and actress. So why was she drowning in depres-sion and despair? When she was able to capture thecolor and design of God's beautiful world with paint andbrush, her joy was indescribable ---- but short-lived. Shewould find herself suddenly dashed into a dark hole of loneliness and depression. Despite her God-Given gifts,"I was lost in a world of darkness of my own creation,"she writes.

"An Artist's Palette, From Dark To Light," is a mov-ing story of one woman's journey from suicidal thoughtsto sublime happiness. By developing an intimate, per-sonal relationship with Jesus Christ, Jessica was bornagain ---- and finally able to move from a dark, destruc-tive existence to a productivelife full of joy and light.

Jessica Di Fabio Iwamoto is a talented actress andsuccessful painter and illus-trator who studied fine artpainting and the art of designand fashion illustration at theVesper George School of Artin Boston Massachusetts.She earned her BA and MAfrom SUNY Empire StateCollege and taught at the

Fashion Institute of Technol-ogy and Marymount Manhat-tan College, both in NewYork City. She has lived inManhattan, Los Angeles, andFlorence and Milan, Italy.She and her husband,Sueyoshi Iwamoto, currentlylive in New York City

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]

JESSICA IWAMOTO PUBLISHES:"An Artist's Palette, From Dark To Light."

mailto:[email protected]




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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]

Georgiana Cray Bart"Pear Table"

Pastel

Rose Sigal Ibsen

―Lotus Pink Flower‖ painted on cloth

Estelle Levy―Evolution‖

Sculpture/mixed media

Harriet FeBland

“ "X Factor"Low relief--construction/painting

Nikolai Buglaj―Radicial Optical Illusion‖

Ink on paper



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Elaine Alibrandi―Laden‖

Oil mixed media

Ray Shanfeld―Pink Lady‖

Margo Mead―Grand Canyon Sentinel‖

Isabel Shaw―Standing Figure‖

Bronze

Kelley Ryan Stengele―August 15,2010‖‖

mxed media collage

Barbara Browner Schiller ―Gimme Scheltrer‖

Bronze



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Jeremy Comins―Enclosed Forms #8‖

Wood

Eleanor Comins―Web of Life‖

Fiber/Wood

Olivia Koopalethes―Steppin’ Out‖

collage



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Bruce Kosma, Continued from page 2

Subtitled ―A Celebration of Possibilities,‖ a body of workby local and nationally known artists was presented atThe Broome Street Gallery to packed receptions andsimultaneously at Cedar Tavern where the after-partytook place. One year it traveled to a venue in San Fran-cisco for three weeks.

If you have seen ASCA‘s Broome Street Gallery

shows, you have seen its walls on which Bruce‘s uniqueskills are readily apparent. If you wish to reach him, hecan be contacted in Fairfield, Connecticut at 203.455.4272. You can also reach him via e-mail at [email protected] and if you wish to see a sample of his work, go to http://www.jscottga.com/artists/

brucekozma/galleryone.shtml.

What the Hell Is It Ethel? Stained-glass

38-1/4" h x 20-1/4" w

Inspired by Fred and Ethel Murtz (I Love Lucy TV show-Lucy and Ricky’s neighbors) and abstract art, there wasno 'predesign' to Ethel, which was created as a journey in expressionism. This became Bruce's signature pieceand is always accompanied by a sheet of lined paper

and a pen, and asking the question

"What the Hell is it Ethel?"

Miriam Wills―Colorful Me‖ acrylic/collage



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Jury, Continued from Page 4

skills needed to handle people, that Juror gets the de-sired choice. The other two Jurors may not even beaware of what is happening because of the subtlety of the maneuvers. It is possible the dominant one mightback off after securing the desired choices or is dominantthroughout. If by chance there are two strong personali-ties on a Jury Team, then it is possible tension may exist.

There could also be an aware series of negotiations, i.e.I will give you Park Place with a Hotel if you give me allthe Railroads. It is also possible all three Jurors will ini-tially agree on certain works.

Despite the questions, discussions and chatter about the process only the Jurors know the basis for thechoices. Over the years, so many ASCA members havereceived awards. These are calmly accepted with graceand noted on resumes‘. And so it goes year after year after year.

AN SOS ALERTAs you can see by the above article ASCA’sAnnual Exhibit Will no longer take place at

the Broome Street Gallery ThereforeAll ASCA members are asked to help find

a space for our 2011 Annual.As you go Gallery Hopping, look and ask.If you find something, say something to


Jurors, from previous page

most impressive. Work by contemporary and modern mas-ters is available at the Gallery as well. The Gallery‘s focusis to show works of those who have a ‗voice of their own‘rather than those who are part of movements or trends.

FRANK DeGREGORIE is Director/Curator of the Art Gal-leries at The Interchurch Center. He attended New York

University/Parsons School of Design where he studied FineArts, Illustration and Graphic Design. Frank's history alsoincludes employment with Smolen, Smith & Connelly—amotion picture advertising company. He served there asArt Director and focused on designing posters for Coppola‘s ―Apocalypse Now,‖ Streisand‘s ―Funny Lady,‖Disney‘s ―The Black Hole,‖ Spielberg‘s ―Close Encountersof the Third Kind,‖ Scorcese‘s ―Taxi Driver,‖ All The Presi-dent‘s Men,‖ Star Wars,‖ ― Rocky,‖ ―Annie‖ and ―The Deer Hunter.‖

In addition, Frank has impressive experiences in pub-lishing. He served as Head of the Art Department andGroup Art Director at Newsweek; Conde Nast, Time Maga-zine, American Heritage Publishing, Disney Publishing alsobenefitted from his talents.

Frank's art background is given special dimension be-cause he also was Co-Founder of Communicators For Nu-clear Disarmament; he designed posters, brochures andprinted matter for Physicians for Social Responsibility, Law-yers for Social Responsibility, War Resisters League andother nuclear disarmament groups.

The Interchurch Center‘s Art Galleries are located at 475Riverside Drive, New York City 10115. Groundbreakingceremonies for this building were held in 1957; Paula M.Mayo, President and Executive Director, states the Center is the home of over 70 organizations which are involved incommunity development, educational endeavors and inter-

cultural/religious exchanges.With quality as its standard, the Center originally en-

gaged two experts from the Museum of Natural History todevelop the moveable posts and support cases for the Gal-lery. J. Sanders Eaton of ―Gallery & Studio Magazine‖ re-ferred to Interchurch‘s Galleries as: ―one of the city‘s mosthandsome exhibition venues.‖ The Center‘s focus is to bea positive presence in the surrounding neighborhood.As of this deadline, MARLENA VACCARO has not pro-vided the requested information. I can share she has beenemployed by the Carter Burden Center for the Aging for many years. She convinced its Board to open an Art Gal-lery for seniors and to place her in the position of its Direc-

tor. The new 307 Gallery is located at 307 Seventh Ave-nue, N.Y.C. between 27th & 28th Streets.

The Carter Burden Center for the Aging is located at1484 First Avenue, New York, N.Y www.burdencenter.org/programs/connections. html. It was in the early 1970‘swhen New York City Council Member Carter Burden actedon his recognition that the needs of his Upper Eastsideconstituents were not being served well. This awarenessprompted him to create the Center which provides a widerange of services to the aging. William Dione is ExecutiveDirector of the Carter Burden for the Aging.

ASCA’S 2010 JURORS

by Estelle Levy

LESLIE GARRETT SCHOULTZ of the Nohra HaimeGallery seems not to have been a long-time NewYorker. Her BFA in Art History is from the University of Arkansas at Little Rock. She also has a BFA in Fine Artfrom the Memphis College of Art. Leslie served as Cu-ratorial Assistant and Associate Registrar at ArkansasArts Center in Little Rock between 2000 and 2008. Shewas Juror for the Arkansas Young Artists Association‘scompetitions held in Little Rock between 2006 and 2007,Arts in the Air Family Art Festival held in Petit JeanMountain, Arkansas in 2007 and Toys Designed by Art-

ists at the Arkansas Arts Center in Little Rock between2000 to 2006.

Since 2008 Leslie has been with the Nohra HaimeGallery which opened in 1981 and is now located at 730

Fifth Avenue www.nohrahaimegallery.com. The newGallery space is exquisite. It exhibits a most eclectic

range of contemporary and international paintings,works on paper, sculpture which includes monumentaland outdoor works. From figurative to abstract to land-

scape to still life to portraiture and work of the minimalisttradition, the quality and breadth of the work shown is

Next



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"All About Color" art show benefitsNew Jersey Foundation for the Blind.

Independent Press, Friday, September 24, 2010- The

American Society of Contemporary Artists holds an artexhibit and sale as a benefit for the New Jersey Founda-tion for the Blind, to recognize blindness awarenessmonth in New Jersey. This is NJFFB's major fundraiser of the year.

"All About Color" is the theme for the American So-ciety of Contemporary Artists, art exhibit, and sale, tobenefit the New Jersey Foundation for the Blind and heldthe reception on Sunday, October 17 at the Foundationheadquarters in Denville, New Jersey.

"All About Color" raised funds to provide vision re-habilitation and wellness programs for adults with visionloss in order that they remain independent in their homes

and communities, reduce falls and injuries, and avoidisolation and depressionthat often accompaniesvision loss.

The Society's show,"All About Color" givesthe public a unique op-portunity to invest in origi-nal art by artists, whoseworks are representedmajor museums acrossthe country. In addition tolarge-scale, high-endpieces, special wall of affordable original art wasplanned. Student artworkwill also be available for purchase. The exhibitionclosed on October 27.

The American Society of Contemporary Artists cele-brates its 93rd year. It is an exhibiting organization con-sisting of approximately 100 internationally and nationallyrecognized members. Their work ranges from represen-tational, to the non-figurative, from the commentary tothe purely aesthetic.

The NJFFB is New Jersey's only nonresidential, compre-

hensive vision rehabilitation center, helping adults withlow vision or vision impairment live with dignity and per-

sonal independence, travel safely without fear, and enjoya higher quality of life. As a nonprofit organization thatreceives no federal, state, or local funding, it is entirelydependent on private donations and grants not surpris-

ingly; donations are down this down economy.

ALL ABOUT COLOR

By Estelle Levy

For many years now, David has greeted ASCA mem-bers on delivery day. It would be David. David?David? Can I leave this box here till pick up day? Do youhave any tape to spare? Is there an extra pair of scissorsaround? Do you have the DePompeo delivery list? Didthe wine arrive? On and on and on. Being cooperative tothe core, David would either be running up one set of stairs or down the other. Moreover, when he was notvisible, it became ―Where‘s David!‖ David would be pre-sent, available, and ever so helpful all day long, until anentire show was hung and everyone left. David was al-ways there during our receptions serving wine, setting upchairs, generally helpful to ASCA Members. When our exhibitions ended and pick up day arrived, David wasthere…..still being patient, calm, friendly and helpful.Sadly, twenty-ten was ASCA‘S last and final exhibition atthe Broome Street Gallery. ASCA cannot just leave with-out extending its abiding thanks and appreciation for allthe work David has done to assure the success of our exhibitions over the years. David: Keep in touch!

MAN BEHIND THE SCENES: DAVID PIERCE

ASCA AWARDSANNUAL EXHIBIT 2010

Lisa Robbins- Irwin and Florence Zlowe ASCA Memo-rial AwardSonja Stark- Roy Moyer ASCA Memorial AwardMargot Mead- Rose Heart Betensky ASCA Memorial

AwardLuboimir Tomaszewski- Isobel Sokolow ASCA Memo-rial Award for SculptureOlga Kitt-Bernard Kassoy ASCA Memorial AwardHedy O'Beil- Bill and Rosie Haleen ASCA MemorialAwardIlse Kahane- Barbara Browner Schiller Award for Sculp-tureSueyoshi Iwamoto- Alexander Rosen ASCA MemorialAwardKelly Ryan Stengele- Neva Setlow ASCA Creative ArtAward Honoring Eve K. CummingsElvira Dimitrij- American Society of Contemporary Art-

ists Art AwardDoris Wyman- ASCA Hon. Mention Award for PaintingFrank Mann- ASCA Hon. Mention Award for GraphicsBarbara Browner Schiller- ASCA Hon. Mention Awardfor Sculpture



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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]

ASCA OFFICERSPresident Barbara Schiller

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

Treasurer Allan Simpson

Recording Secretary Imelda Cajipe EndayaCorresponding Secretary Lisa RobbinsSocial Secretary Olga Kitt

Historian Frank MannBoard of Directors: Elinore Bucholtz,

Hank Rondina, Fred Terna

ASCA NEWSLETTER Publication Director Hank Rondina

CONTRIBUTING WRITERSMihai Caranica, Independent Press, Jessica Iwamoto,

Estelle Levy, Gallery and Studio-- Marie R. PaganoHank Rondina, Lea Weinberg

CONTRIBUTING PHOTOGRAPHERSHank Rondina

COPY DEADLINE FOR THE NEXT ISSUEMARCH 15, 2011

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

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

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

tion of this newsletter.

MEMBERSHIP NEWS

Georgiana Cray Bart— Won 3rd place in the EndlessMountain Council of the Arts Regional, Tunkhannock, PAthis past summer. winning painting "Pear Table" (See Gallery), a pastel still life.-ALSO-invitedto exhibit at Luzerne County Women in Pastel Invita-

tional, Misericordia University, Dallas, PA, Mar.13th -Apr.20th.-ALSO-Currently teaching Drawing At King's, Wilkes-Barre, PA and will be teaching Painting at MisericordiaUniversity, Dallas, PA and Introduction to Art her almamater Wilkes University Spring Semester-ALSO-Teaching art to children and adults in her studio inWilkes-Barre, PA.-ALSO-She will be giving a two daycolor workshop in pastel painting the Christina DebarryStudio, 10 Harvale Drive, Florham Park, NJ, May 7 th and8th, 2011. For information, contact Christina at [email protected] Butti—Exhibited at The Department of Fine ArtsFaculty Art Exhibition, St. John‘s University Queens, New

York November 16th -January 8th, 2011.Marcia Bernstein--Solo Exhibit "The Past Is Present" The Interchurch Center, Corridor Gallery, - Jan. 11th,2011.Harriet FeBland-- Dec. 14th, 2010 was awarded thirdprize out of 289 artists from 52 countries were selectedto compete In the International Painting and Mixed MediaCompetition sponsored by the Lessedra Gallery, Sofia,Bulgaria for her painting/construction entitled "X Fac-tor" (see Gallery)-exhibit Dec.15th, 2010-Feb.15th, 2011"-ALSO- Grounds for Sculpture Museum, Hamilton, N. J.,Seward Johnson Center For the Arts, Jan.-Dec. 2010 -ALSO-celebrated her 52nd Solo exhibit at the Gallery's

of The Interchurch Center Oct. 28th

-Dec. 2nd

, 2010Rose Sigal Ibsen--Inducted into Who‘s Who in TheWorld, 28th Edition 2011- ALSO-Interviewed onChinamerica Radio ―Spectrum‖www.chinamericahitradio.comEstelle Levy— Exhibiting at the 12th Annual WAH SalonArt Club Show Jan.15th -Feb.13th 2011, Williamsburg Artand Historical Center, 135 Broadway, Brooklyn, NewYork - ALSO- Tri-fold New Perspectives on Book ArtsOct.12th -Nov.27th. - ALSO-"Works on Walls II," Gallery307, 307 7th Ave., New York, NY

Basha Maryanska—Exhibiting at the 12th Annual WAHSalon Art Club Show Jan.15th -Feb.13th 2011, Williams-burg Art and Historical Center,135 Broadway, Brooklyn,New York Gerda Roze-Solo exhibit "Homage to the Circle," at theGallery's of The Interchurch Center 475 Riverside Dr.,NYC Apr. 7--May 13th, Reception Apr. 14th, 4-7pm. Gal-lery hrs. 9-5pm Mon.-Fri.

Lea Weinberg –Exhibiting three of her wire mesh sculp-tures at Attleboro Arts Museum 86 Park Street, Attleboro,MA Members' Exhibition Dec. 11th,2010 to Feb 4th,2011-ALSO- “Counterpoints” The New York Society of Women Artists at Broome Street Gallery, Feb. 22nd -Mar.13th, - ALSO- “Together” at New Century ArtistsGallery, Chelsea, NYC (530W. 25th Street, Suite 401 New York, NY 10001)from Mar.1st to Mar.19th.

ASCA’s Annual Exhibit Will no longer take place at the Broome Street Gallery. There-

fore. All ASCA members are asked to helpfind a space for our 2011 Annual. As you go Gallery Hopping, look and ask.If you find something, say something to




newsletter 41 winter 2010-2011

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