newsletter 29 winter 2007

8/6/2019 Newsletter 29 WINTER 2007

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american society of contemporary artists NUMBER 29 W INTER 2007

ASCAS 89TH ANNUAL AWARDSFOCUS FORWARD 2007

By J. Sanders EatonGallery & Studio Reprinted with permission

T he longevity of the American Society of Contempo-rary Artists is not simply a happy accident. It haseverything to do with the high quality of its membership,comprised of professional painters, sculptors, and print-

makers selected by their own peers to sustain the highstandards that have been evident in the groups juriedexhibitions for many years. Focus Forward, the 89th Annual Exhibition of the ASCA will be on view at BroomeStreet Gallery, 498 Broome Street through November 11.

Featuring works by sixty artists, the show will be juriedby a panel that includes Hallie Cohen, curator and chair of the Art Department of Marymount Manhattan College,Nancy diBenedetto, art historian and critic, and BobKeiber, author, curator, and professor of Art and Com-munications at Berkeley College, New York.

This should be a characteristically varied and stimulat-ing exhibition, judging from a representative sampling of works that this writer was able to preview well in advanceof the show, in order to make our publication deadline.

Known for combining figurative imagery with neatlylettered texts, Elvira Dimitrij will be showing a work inacrylic and oil on canvas called Concentration. Exe-cuted with Dimitrijs usual realist meticulousness on aeasel-size canvas in a square format that makes itsscale seem considerably larger, the composition merges

a fragmented close- up of a womans face with the wordreflecting, repeated in various type sizes. The effect issimilar to certain works of decollage-especially by Italianartists of the Arte Povera movement who tore away lay-ers of film posters glued one over the other, to revealincongruous juxtapositions of imagery. However, Dimitrijachieves more deliberate interactions of image and text,akin to concrete poetry, through her meticulous trompeloeil technique.

Continued on page 2

At Broome Street Gallery, the ASCAFast Forwards Nearly Nine Decades

Joseph Lubrano awarded The Roy Moyer Memorial ASCA Award for Figurative Painting, Joes daughter ,Linda Lubrano receives the award from Jessica Iwamoto

Sixty-four ASCA members participated in the 89th

Annual Awards Exhibition, Focus Forward. Theexhibit at the Broome Street Gallery was juried by BobKeiber , Curator The Berkeley Gallery, Published Author,Prof. Art and Communication, Berkeley College; Nancy Di Benedetto , Juror, Critic, Historian and Hallie Cohen ,Curator, Philocetetes center Exhibition Space Artist,Painter, Chair, Art Dept. Marymount Manhattan College.

Awards were presented to the following artists:Joseph Lubrano, View From the Ferry - The Roy Moyer Memorial ASCA Award for FigurativePainting

Min Myer , Mexican Relic -The Jessie DiFabio Iwamoto ASCA Award honoring Raymond WeinsteinOlivia Koopalethes , Ways of Looking - The Pearl & Rudy Bernstein Award, honoring Bernard &Hortense Kassoy Eleanor Comins , Untitled - The Christine Jones Morocco ASCA Art Award Tamara Tarasiewicz , Windows of Nature - The Samuel Rosen Award honoring Harriet FeBland

Continued on page 2


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Awards Continued from page 2

Harriet FeBland , Time Out With Red - The Joseph Lubrano Memoriam Award Friends of ASCAHester Welish , Two With a View - The Emily Mehling Memorial Award

Gerda Roze , In Flight - The Nancy Ransom Memorial Prize for Excellence inWorks on Paper Hank Rondina , G Flat ii -v- I Chords - The Christine Jones Morocco Award honoring Sueyoshi Iwamoto Margery Small , I Have a Dream -

ASCA Honorable Mention Paining Award Annette Lieblein , Where Earth Meets the Sky - Honorable Mention Graphics Award Neva Setlow , Reflections #2 -

ASCA Honorable Mention Sculpture Award

The martial arts may not seem like the obvious path toa life of responsibility. However, in the time I have beeninvolved in this project, it has become abundantly clear that some of the boys living on the edge of society arewilling to spend their time at various gyms in the commu-nities where boxing programs are available, so this is aviable place for them to acquire the skills and disciplinesthat the martial arts provide, all under supervision to pro-vide safety regulation. So the P.A.L. and the YM-

YWCAs provide a valuable haven for urban refugeeswho would otherwise be more vulnerable to all thethreats and dangers on the street.

It is my intention to become further immersed in thisspecific culture of street youths involved with communityboxing programs through my paintings and graphics.This would culminate in the presentation of my art atworkshops, seminars and gala fundraisers (already inplace). I have connected with influential people in thisarea who have offered their support. For that reason Iam confidant that there will be considerable attendance,interest and donors, which will, in turn, help expand theprogramming at the P.A.L. and the YM- YWCAs.

I have already done extensive research and com-pleted over a dozen artworks on the subject. My artrepresents the youths from the training aspect; an honestview without glamorization, which makes it rather uniquecompared to other sports-themed artwork.

Let me share with you, two projects I have been verybusy with. First, I have been appointed as ResidentArtist to Fort Wadsworth, Staten Island, United StatesCoast Guard Unit. The organization is called COGAP.

The Coast Guard Art Program uses fine art as an out-reach tool for educating diverse audiences about theUnited States Coast Guard. Through public displays atmuseums, galleries, libraries, and patriotic events, CoastGuard art tells the story of the services missions, heroesand history. Coast Guard artists are volunteer, profes-sional artists who donate their time and talents to helpeducate the public about the Coast Guard.

Today the collection comprises more than 2,000works, which recount the Coast Guards history from theearly beginnings of our great nation, into World War II,and through the perils of Vietnam, Desert Storm and Op-eration Iraqi Freedom. Paintings and drawings also cap-ture the daily missions the 41,000 men and women of the Coast Guard perform, including homeland security,search and rescue, marine environmental protection,drug interdiction, military readiness, aids to navigationmaintenance, and natural resource management.

I have already gone out with the Coast Guard Deploy-able Operations Group (DOG) on the waterways, takenphotos, and created paintings. Ive observed the K-9 unitfor the Maritime Safety and Security Team, known as,MSST 91106-a unit developed after the September 11 th World Trade Disaster, with new techniques to patrol thewaterways of New York Harbor. In honor of my work so

far, I was honored to be presented with a Captains GoldCoin.

In the last two years, I have worked on a project withP.A.L. (Police Athletic League) with urban youths whoare learning boxing as a discipline. I became interestedin the art of boxing when, by chance, I met a two-timeGolden Glove champion. He proceeded to tell me aboutsome of the youths who come to him for training. Be-yond athletic training, they receive some of the elementsmissing in their home life: attention, guidance and self-discipline. As a painter, I tend to respond with painterlythoughts, so, even though I am innately pacifistic, my

mind turned to the possibilities of presenting the situationas a body of work on canvas and paper.

I arranged to have the boys (most likely girls training inthe gym will be included as well) meet with me and posein traditional boxing postures, which would serve as ref-erences. I use the artworks to garner public attentionand focus a social consciousness on the problems facedby so many of our urban youths growing up without di-rection. The works are auctioned off at gala events spon-sored by P.A.L. and Y.M.C.A. with a portion of the pro-ceeds going to the boys and girls.

Jami Taback

ASCA DOCUMENTARY FILM

F ollowing on the huge success of the ASCA book, weare embarking on an ambitious film project with aprojected DVD as the result. Do you want to be inter-viewed for the ASCA documentary film?

Contact Stephen Beveridge at [email protected] arrange a time for your studio interview, or callStephen at (212) 928-8351. A DVD will be available tomembers for a small fee to cover production costs.


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Two sculptors share an exquisitely reductive formaleconomy in common, yet distinguish themselves throughtheir own inimitable individual sensibilities.

A former dancer with a lifelong interest in movement,Isabel Shore creates sculptures in which her mastery of traditional anatomy is evident, even when she employsthe degree of distortion that distinguishes her bronze,

Ladies on the Corner. Raymond Weinstein has a gift for imbuing expressively

simplified figures with a monumental presence, evenwhile conveying a sense of everyday humanity.Weinsteins walnut sculpture of a single female figure, Belle poque, commands space by virtue of its statu-esque grace, yet projects an affecting vulnerability.

Enriched by guest artist Vicente Saavedras strongrealist painting of a seated nude seen from behind, thisASCA group exhibition highlights one of our more vener-able and distinguished artists organizations.

By J. Sanders EatonGallery & Studio September/October 2007

Several members of the American Society of Contempo-rary Artists and their guest, the distinguished Venezuelan

painter Vicente Saavedra, explore subtle abstract / figura-tive conflicts and harmonies in Contrasts: Action / Inac-tion, an invitational exhibition selected by Lenor C. Oso-rio Granado, the Consulate General of Venezuela, at TheGeneral Consulate of the Republic of Venezuela.

Although ostensibly abstract modes of expression pre-dominate, Georgiana Cray Bart stands apart for a still lifeYellow Mug with Purple Berry Box. However, Barts ex-quisite spatial sense and manner of unifying the surfacewith staccato strokes lends the composition considerableabstract appeal.

Raymond Shanfeld also manages to have it both wayswith his alabaster sculpture The Whale, for only thecreatures tale protrudes from the pedestal, resulting in aform that simultaneously functions, in purely abstractterms and suggests the result of a well-aimed harpoon.

Complexity contained within a bold formal framework isthe forte of Gerda Roze, whose wall-relief paintings com-bine swirling painterly pyrotechnics with geometric stabil-ity. Rozes Orbit 11 has an almost dizzying effect,showing her formal synthesis at its most dynamic.

Stephen Beveridge, on the other hand, exhibits a lyri-cism reminiscent of the abstract expressionists in Twill,where swift strokes of radiant hues create a shimmeringeffect like sunlight on water.

Jan Wundeman combines the vigor of the New YorkSchool with a West Coast sense of light and space.Wundermans oil on canvas, Franconia Summer ischaracteristically sumptuous, evoking the vitality of naturethrough painterly immediacy.

Jeremy Comins finds his own formal and symbolic sur-rogates for natural scenery in his sculpture Landscape,where painted wood shapes stacked within a steel frameare wholly abstract, yet biomorphic in a manner as un-

earthly as the surreal terrains of Yves Tanguy.By contrast, Harriet FeBland employs stringently geo-

metric forms in her acrylic paintings, yet still manages toproject allusive qualities, as seen in Nocturne, whichmakes a strong formal statement with its bold stripes of light and dark hues, while simultaneously suggesting theatmospheric mystery of night.

Frederick Terna is another painter with an ability toinvest abstract forms with transcendent qualities, in Seaof Reeds, where graceful semi -circular forms appear toemanate like auras from a lunar orb.

Harmonious Disparities DominateASCA Group Exhibition

Harriet FeBland Nocturne

Gerda Roze Orbit II


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Continued from Fall 2007 Issue

A short time ago, I had the fortunate experience of working with an individual who was an enormousasset in identifying the underpinnings of my new work.Her name is Alyson Stanfield, and together we went

through an interview process that led to the completion of my statement. Here is a continuation of the spontaneous,unrevised answers. Which artists have influenced your work?

Cezannes watercolors are perhaps the most powerfuland evocative of the Impressionists. I like to think that hisuse of color and form has influenced my paintings. Thecolor patches in his work create an abstract rhythm withinthe composition. In one of his still life paintings he placesa knife on an angle to create a feeling of depth. The lineof the knife not only created depth but also a tensionwithin the composition.

Rothko I can remember seeing the Rothko exhibit atthe Guggenheim and remarking how his work had a spiri-tual quality. When I looked at his paintings, it was likeviewing a stained glass window in church. His work emit-ted a very distinct sound or vibration. His sensual use of pure color fields evoked a religious experience.

Johannes Itten When it comes to color, Itten and histheories have played a major role in my work. His twelvepart color circle is a linchpin in my present direction. Itake his color circle and superimpose it on the Circle of Fifths. The subject of my work becomes either the ii-v-ichord progressions or just an isolated chord.

Kandinsky has become the greatest influence on mywork. His ideas relating to color, music, composition andthe total abstract quality of his paintings have impactedmy work significantly. I rediscovered him after strugglingwith the representational direction my work had taken.My comfort lies in the abstract, the non-representationalworld of emotion, feeling, expression and vibration.

How does your work relate to art that has beenproduced in the past?

My work is grounded in the expressionism of VasilyKandinsky and the abstract expressionism of the mid 20 th Century.

These artistic movements released the artist from thedistractions of the representational or recognizable in artand permitted the artist to explore attitudes and emotionsthrough non-traditional and non-representational means.

How was the artist released from the distractionsof the recognizable and representational?

Until the early 20 th century nature was the focus of theartist. His landscapes, portraits, sculptures or still lifepaintings were offered to his patrons or public in diversestyles and techniques.

However, no matter who the artist was, primitive or Picasso, the subject was a representation of an image

placed before him by nature. The artists aim became thereproduction of nature and the many approaches he usedto demonstrate his artistic aptitude. Each movement inart was the foundation for the next. From Ancient Classi-cal, to Impressionism to Dada, the subject was dictatedby nature. Method or style eventually became artists mo-tivation.

In addition, color theory did not really enter the

picture untilMichel Eugne Chevreul, a chemist, devel-oped his "simultaneous contrast" of colors, which was tohave a major influence on the Impressionists use of color. However, the skin or outward appearance of nature remained the dominate focus for the artist.

Perhaps the most influential and original artist of the20th century was Vasily Kandinsky. He focused on not

just seeing nature, but also experiencing it, without rely-ing on the objects nature has placed before him.Color was just as expressive and powerful as sound.

He was asked in an interview: How did you arrive atthe idea of abstract painting? His answer included thefollowing ...I envied musicians, who could create art wout narrating anything realistic A major influencKandinsky was Ittens teaching and theories on color.Both taught at the Bauhaus, and Itten, unlike Chevreul,was an artist. He developed a new kind of color wheel,the Twelve Hue Subtractive Color Wheel, and the emo-tional or subjective feelings of color.

How do I accomplish this?My aim is to make art that evokes both auditory and

visual responses. It unites the chromatic relationshipsamong the twelve key signatures of the Circle of Fifths inmusic with the chromatic relationships of color in Johan-

nes Ittens Twelve Hue Subtractive Color Wheel.

What do you consider to be unique to you?The primary inspiration springs from my emotional

state. People I know and meet have no part in the proc-ess. One artist that may spark a painting would be Kand-insky. The sounds of a jazz recording, a specific note onthe piano would also inspire me.

How has your art evolved in the last 20 years? 10years? 5 years? 1 year? 6 months?

Twenty years ago my art was anchored in sculpture. Isculpted metal and utilized scrap and auto parts: fenders,

axels etc. It was abstract, gestural and a lot of fun.My work ten years ago, when I did create, was still inthe abstract, but as a result of Retinitis Pigmentosa, I wasnot able to weld

Five years ago I turned to painting. I used watercolor because of its immediacy. I joined local art associations,and my work became more representational. Represen-tational subjects crept into my work because it was whatthe majority of the organization was doing and selling. Iwas not happy. I felt confined, restricted and not true tomyself.

Continued on page 8

HANK RONDINA
http://www.colorsystem.com/projekte/engl/17chee.htmhttp://www.colorsystem.com/projekte/engl/17chee.htm


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ASCA GENERAL MEETING

MINUTESDATE: November 14 th , 2007, 2:30 to 4:00 PMLOCATION: Presbyterian Church, 493 Park Avenue,New York City

MEMBERS PRESENT: Harriet FeBland, RoseSigal Ibsen, Miriam Wills, Elvira Dimitrij, Ray Shan-feld, Ray Weinstein, Rose Marie Cherundolo,Sueyoshi Iwamoto, Olga Kitt, Stephen Beveridge,Marcia Bernstein, Elinore Bocholt, Judith Anger,Estelle Levy, Alan Roland, Sachi Hayashi, BarbaraSchiller, Ilse Kahane and Gerda Roze.

MEETING CAME TO ORDER : Jessica Iwamotocalled the meeting to order. She then announcedthat her service as president would be ending earlyin the year, though she was urged to stay on by themembership, who praised her for her superlativeachievement on the job.

Elvira Dimitrij, treasurer, will be leaving the cityand her position with ASCA, which is going to Bar-bara Schiller, who volunteered for it. The assistantTreasurer, Rose Sigal Ibsen, who at the end of theyear is passing her place to Ray Weinstein. It wasnoted that there is a need for more volunteers fromthe membership in running of ASCA and that per-haps the presidents position should be a sharedone.

MEMBERSHIP EXHIBITION PROSPECTS: Atthis time there is a possibility of a future show at the

Manhattan Borough Office. Each member of ASCAis requested to pursue leads for possible exhibitionsites and must cooperate in the process of securingthem. Harriet FeBland has exerted much effort inthis discipline. She has observed that exhibitors pre-fer to select the limited number of artists. This viewwas challenged by Estelle Levy, who suggested thatshows that use the ASCA name should include onefourth to one third of the membership in order to befair and equitable. Since this would reduce the num-ber of satellite exhibitions inordinately, a vote wascast that supported Harriett FeBlands determination.She also maintained that slides are preferable to

discs in order to ascertain the category of the work tobe submitted for a specific show and she also statedthat some galleries select work from the 2003 ASCABook, which she will provide to anyone in need of one.

Regarding the Venezuelan exhibit, the curator se-lected the artists to be shown from the ASCA bookand those particular artists paid for it.

COMMITTEE REPORT: Our treasurer, ElviraDimitrij, gave her financial report which indicates

$5,401.66 in the checking account, $3,492.96 in sav-ings and $10, 2315.00 in a CD.

JOSEPH LUBRANO, President 1994- 2005:Linda Lubrano sent the archives of ASCA from Jo-seph Lubranos collection. It came in four boxes ofmaterials covering from 1994-2007. The materialincluded ASCA business records, newsletters, gal-lery information and treasury notes. We thank Linda

for delivering this material to ASCA.ASCAS 90 TH ANNUAL SHOW: The celebration

of ASCAs 90th anniversary honoring Joseph Lu-brano was again open to suggestion. A dinner wasagreed upon and a committee was formed to ascer-tain the time and place, etc. The committee in-cludes: Gerda Roze, Ray Shanfeld, Ray Weinsteinand Rose Marie Cherundolo. The National Art Clubis being considered for the dinner.

NEW BUSINESS: Olga Kitt suggested ASCAsneed for a director to help with organizational work. Itwas suggested that we seek out a graduate studentinterested in running and helping us establish a repu-tation with galleries. This proposal would state thatthe salary for this part time work would be negotia-ble.

Harriet FeBland expressed a need for two peopleto occupy the position of president of ASCA.

MOTION TO CLOSE : was made at 4:00 PM, sec-onded, and the meeting was adjourned.

Miriam Wills, Recording Secretary, ASCA

JESSICA IWAMOTOSTEPPING DOWN AS PRESIDENT ASCA NEEDS A PRESIDENT

At the general meeting of the AmericanSociety of Contemporary Artists, on No-vember 14, 2007, Jessica Iwamoto advised theBoard of Directors and the membership thatshe is resigning her position as President of ASCA, effective early in 2008.

ASCA is seeking an individual, who canlead our organization, in this, our 90 th year.

If you are interested in becoming thePresident of The American Association of Contemporary Artists, please contact JessicaIwamoto at (212) 988-9623 or e-mail her [email protected]


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ASCAS Resume and

Photography Bank

From Harriet FeBland: President Emeritus / CHAIR:Biographical Bank and Exhibitions

ASCA continues to keep a current bank of our members resumes, slides, photographsand background material. We submit these exampleswhen negotiating with possible venues for exhibitions.

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

ALL NEW MEMBERS are requested to submit thefollowing to be included in these presentations:

1. Three slides of available work

2. A one page resume with 6 copies

3. Two copies of a black and white photograph of one of the works

4. Any extra printed material you would like them tosee with your slides, such as invitations with ex-amples of your paintings or sculpture in color.

(Send duplicates.)These materials and slides will not be returned.

PLEASE NOTE: With so many members, I am able toshow one slide only per artist plus your resume, andwhatever background material you send me. Backgroundmaterial should give further examples of your art, sinceonly one slide represents you.

MEMBERS who want to update their material, I amunable to return your files without a stamped, self ad-dressed, large, manila envelope, or a personal visitwhere you can change your material yourself. To do so,Tel. 212-759-2215 or e-mail [email protected].

NEW MEMBERS: Send material toHarriet FeBland

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

New Exhibitions

From Harriet FeBland: President Emeritus / CHAIR: Bio-graphical Bank and Exhibitions

ASCA would like to have shows in your neighborhood, (Westchester, New Jer-sey, Connecticut, Pennsylvania, etc., anywhere in theUSA) You are our best spokes-person to help initiate our future exhibitions. You have all exhibited in galleries, artcenters or museums that could host an ASCA show.PLEASE CONSIDER just speaking with the Director,President or other person in charge of a likely place. Our shows are top professionals. Dont be afraid to say so.

Our ASCA book is available as an example to showthem. We cannot have exhibitions without your help andinitiative. Members outside of New York City, we want toexhibit in your area and we especially need your helpand input. All members are asked to do something for the society, and our exhibitions are the reason why wehave been organized for 90 years.

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

Contact:Harriet FeBland

President Emeritus, Exhibitions Chair 245 East 63 rd Street (1803)New York, New York 10065

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

ASCA EXHIBITIVE GOT RHYTHM

Art Influenced by Music MANHATTAN BOROUGH PRESIDENTS GALLERY

Centre St., NY,April 1 st to 30 th , 2008

We need volunteers to help continue the sur-vival of our ASCA Newsletter. We welcome art-related articles, reviews of exhibitions and your upcoming shows.

Send your material to:Hank Rondina

209 Lincoln Place,Eastchester, New York 10709;

Telephone (914) 793-1376;or email it to [email protected]
mailto:[email protected]:[email protected]


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Continued from page 5 . A little over 3 years ago, the inner began to comeback, because I wanted it back. I wanted the freedom tocreate and feel my work. I began introducing torn paper and experimenting. I was ecstatic. I rediscovered Kand-insky and Itten and havent looked back.

What has stayed the same?Primarily the need to hear a painting when it is fin-

ished has stayed the same. My search for the vibrationin my work has not changed.In addition, my overall approach to art and the creative

process has pretty much remained the same. There aretimes when I will create 4-5 paintings in one week andtimes when weeks will go by before I start again.

What has changed dramatically?My subject and palette has changed dramatically. My

subjects are conceptual and often spontaneous rather than concrete and planned.

My palette includes cyan, magenta, ultramarine, yel-low and red.

What are common threads? The common threads would be color, gesture and

sound/music.

How have you felt about your art along the way?I was always comfortable working in the abstract.

Then, I was ensnared in the pretty picture period; theneed to create paintings that please the masses. Now, Iam finding my voice, and if the work pleases the viewer fine. If not, thats okay too.

How do you begin an artwork?Sometimes I will place a blank paper/canvas on a ta-

ble, and it may remain untouched for a number of days.When I pass in front of it, I may stop look at the whitesurface and continue about my business. Then, all of asudden, I stop what I am doing and pick up a brush andbegin a composition.

There are also times, particularly now, when I will hear a piece of jazz and begin a composition in the currentseries I am involved in.

Then, what is the first step? Is it a drawing? A pho-tograph? A single mark?

The first step may be a drawing, a jazz progression, a

point, or I may just wet my paper and begin to paint.Do you plan your work in detail before you begin?I may complete a drawing or sketch to lay out a com-

position in order to listen to different lines or shapes. Or I may dive right into a painting. One could say that whatis planned are the specific colors that correspond to thenotes on the Circle of Fifths.

How do you physically go about putting a work of art together?

My work is on paper. I will place my paper on a pieceof plexiglas and in most cases wet both sides with a

sponge. Naturally, excess water will be removed.Sometimes I will cut shapes or line into a piece of con-tact paper to achieve a harder, more formal edge or justdraw right onto the surface. There are many instanceswhen I will physically tear paper and then paint the sur-face of the torn piece and stamp it onto the surface.

Sometime I use just this stamping method and thenlook for images or ideas within the work. Once I see an

image, I will bring attention to it by either outlining it or laying another color against it to create an accent, vibra-tion, tension or a play on color.

My pallet would be dictated by the musical chords in a jazz progression or the single chord. The Twelve HueSubtractive Color Wheel would then be superimposed onthe Circle of Fifths, and the pallet would be chosen. Ithen listen to the progression on the piano.

Is this a process understood by the majority of people?

No.

Would it be helpful for you to define it somehow?If so, try to find the words for it now.

The process is one of joining painting and music. Thecolors are dictated by the location of the primary colorson the Circle of Fifths. An example would be yellow ontop the key of C, red on the key of E and blue on the keyof A flat. Once this is done, a jazz progression or chordwould be chosen from one of the keys. Each note willthen correspond to a primary, secondary or tertiary color.

Do you approach a traditional medium in a uniqueway ?


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At various times or in the beginning of the work, whilelaying down color, I will take a torn piece of paper andsaturate it with color. I will then place it on the pictureplane and print it. This is done while the paper is stilldamp or in some cases wet. I will use acrylic or water-color or both.

Are there any emotions you are trying to elicit?Ideally, one would look at my work and come away

with a feeling of joy, harmony and sometimes disso-nance. I want them to not only view the paintings butalso listen to them.

What are the formal qualities (line, shape, color,texture) you would like people to recognize?

The qualities I want them to recognize are how lineand shape and color impact on the sound of the paintingand that any variation in those elements affects the com-position.

What do you want them to say about your use of materials? Or your subject matter?

I want the viewer to come away from my work com-menting on the color, sound and musical quality of thepainting.

What would you really like for people to say aboutyour art?

I want them to say that Rondinas approach to Kand-inslys thoughts on music and color has joined music andpainting.

The visual and acoustic characteristics in his work pro-vide the viewer with a memorable experience

E Flat ii-v-i Chords

THE POETRY OFEMILY MEHLING

W hen Emily Mehling passed away in June, her deathat age 64 was a sad loss to the American Societyof Contemporary Artists and to the art community.

She was an active member of ASCA member since1998 and was best known for her sculpture, where sheused a variety of media, most often wood (such as ma-ple, walnut, willow, rosewood, cherry, or cedar) as wellas marble, bronze and glass, and for her paintings inacrylic.

She was also a poet. Here is a selection fromPoems (A Bakers Dozen) by Emily Mehling.

THE MOON BEHIND THE GLASS

The moon behind the glass, below the roof, above the eaves,divided into pieces by the faces of the leaves,clenched, a marble cats eye in the fingers of the trees,waits for its escape, and while Im not looking frees itself and flees.

If I could look up suddenly and find myself elsewhere,look up quickly from my book and find I wasnt there where Id been reading, I know I wouldnt dare to disappear beneath the dark rim, to a dimmer lighted lair,into thin air.

I would in disappearing rise into the seas that are the skies,find the constellation fleet that never sails because it fliesand has been waiting long for me to catch the meaning in its

eyes,all this time an invitation and I didnt recognize its guise.

There the lighted revels shine through the windows on thedecks,and lovely perfumed beasts wind their long and tawny necksinto the mind with promised feasts that dishevel and infectme with a thirst. If I could not be here, I would electto there defect and disappear.


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ELVIRA DIMITRIJ

JOE LUBRANOS PAINTI NG AND LINDA LUBRANO

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, thetitle of your work, the medium, and an arrow showingwhich side is UP. Mail your photos to Hank Rondina,209 Lincoln Place, Eastchester, New York 10709.

ASCA ART GALLERYFOCUS FORWARD 2007

RAY SHANFIELD

HESTER WELISH

BROOM STREET GALLERY FRONT


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ROSE SIGAL IBSEN

BROOME STREET GALLERY

BROOM STREET GALLERY

ALLAN SIMPSON

BROOME STREET GALLERY JESSICA IWAMOTO


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ASCA MEMBERS IVE GOT RHYTHM ART INFLUENCED BY MUSIC

MANHATTAN BOROUGH PR ESIDENTS GALLERY ,Centre St., NY, Ive Got Rhythm, Apr. 1st to 30 th, 2008

SUEYOSHI IWAMOTO one man show Jan. 2008 atthe Berkeley College Art Gallery , 3 East 43 rd St., NewYork, thru , Jan. 30, 2008

ROSE SIGAL IBSEN Has been included in WhosWho in American Art Twenty-seventh Edition 2007-2008 ALSO Exhibition of Pure Serenity, River RockHealth Spa, Woodstock, NY ALSO Insitu Salon, IrvingPlace, NYC thru Jan. 8 . ALSO Art of Ink in America 2007, Irvine Fine Arts Center, Irvine, CA, Feb. 29 th toApr. 5 th, 2008.

TAMARA TARASIEWICZ Has been included in theglobal art publications Masters of Today and Trends ..Both books are distributed to galleries and museumsworld wide and are available at Amazon and BordersBooks.

ELINORE BUCHOLTZ exhibited with WSAC Sightsand Insights Sep.12 - 30, ALSO WSAC Abstract 07Oct. 24 - Nov. 11, ALSO Women In the Arts throughNov. 9, at Lafayette Bar and Grill, 54 Franklin St., NewYork, NY; ALSO at the Broome Street Gallery with Met-ropolitan Artists until Oct.27; ALSO with Westside ArtsCoalition in "Breath of Vision", Nov. 11-Dec. 7 at Lafay-ette Bar and Grill. ALSO A one-person exhibition of her work will take place in the Spring, 2008.

JANE PETRUSKA exhibited at Our World Gallery atThe Stone Studio, 82 Erskine Road, Stamford, CT.Nov. 4 to Dec. 9, 2007.

HARRIET FeBLAND Longview Museum of Fine Arts ,Longview, TX, Personal Landscapes Sept.18th Oct.24 th. ALSO Insights Into Suburbia Purdue UniversityGallery, Nov.-Dec. 14 th.

JEREMY COMINS Wooden Sculpture Exhibited atthe Denise Bibro Fine Art, NYC., Sep.6th Oct. 6th.

LINDA BUTTI New Work at Gallery North, 90 NorthCountry Rd , Setauket, NY Jan. 13- Feb.10 ALSO:Art Lab Gallery, Snug Harbor Cultural Center, SI, NYJan. 13- Feb.1.

MEMBER EXHIBITS AND NEWS

ASCA OFFICERSPresident Jessica Iwamoto

1st Vice President Ray Shanfeld 2nd Vice President Rose-Marie Cherundolo3rd Vice President Jami Taback

Treasurer Barbara Schiller Assistant Treasurer Rose Sigal Ibsen

Corresponding Secretary Rose Sigal Ibsen Recording Secretary Miriam Wills

Social Secretary Rose-Marie Cherundolo

ASCA NEWSLETTER Publication Director Hank Rondina

CONTRIBUTING WRITERSJ. Sanders Eaton Gallery and Studio , Tamara Tarasiewicz,

Emily Mehling, Harriet FeBland, Hank Rondina

CONTRIBUTING PHOTOGRAPHERSLinda Lubrano, Jessica Iwamoto and Allan Simpson

COPY DEADLINE FOR THE NEXT ISSUEFebruary 15, 2008

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 2008 by ASCA

Permission is required to reprint any portion of this Newsletter.

MEMBER OTHER NEWS

IN MEMORIAMDevorah Grosz - 2007

Elvira Dimitrij, Moving to Atlanta, GA.Resigns as ASCA Treasurer

O n November 14, 2007 Elvira Dimitrij resigned her position as Treasurer of the American Society of Contemporary Artists.

Her final financial report included the following:$5,401.66 in the checking account, $3,492.96 in savingsand $10, 2315.00 in a CD. ASCA wants to thank Elvirafor her dedication to our association. Barbara Schiller willbe taking over the position

Elvira will remain an active member of ASCA

Elviras address: Elvira Dimitrij

1196 DeKalb Ave.Atlanta, Georgia 30307
mailto:[email protected]:[email protected]

newsletter 29 winter 2007

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