american society of contemporary artists

NUMBER 41 THE SHOW MUST GO ONAND IT DID

By Estelle Levy

WINTER 2010-2011 AT BROOME STREET: A LIVELY MIXED BAG

Gallery and Studio--By Marie R. Pagano

e members in ASCA are fortunate in having Bobby Schiller as our President. Since she became President, the shows she unearthed have been ones to which all of us could apply. She has a very democratic bent from which we all have benefitted. She is inclusive, genuinely friendly, markedly fair, and especially competent. Sadly, these fine qualities did not combine to protect her from being felled by the dreaded disease of Cancer. While some become too busy to do, to help, to give a little of their own time, Bobby (cancer and chemo) made herself available as best she could. Bobby focused on the Jersey Show delegating to get the needed tasks done for it and on the Annual as well. She actually worked hard from home making sure the tasks for both shows were taken care of. She could have said, Ill stop now, I am just too ill to be involved. Rather than quit, she strived to be stronger than the impact the chemo had on her. Clearly, she is not a quitter. Bobby was problem solving, delegating, double-checking, following up between her stints with chemo for both shows. Being determined, she attended the Jersey Exhibition despite the chemo and its impact on her. She not only arrived to greet the Jurors for the Annual, she also attended the Annuals reception. Actually, without her direction, input and efforts our 2010 Annual might not have happened, and she enlisted her husband Charles to do ASCA work for her when she could not. Since Charles, so willingly did much for her and us as well, perhaps we can Knight him or anoint him DE FACTO ASCA MEMBER. (Isnt the use of de facto perfect when referring to a lawyer?) Our own scheduling involves chores, artwork, shows, and fun. Bobbys scheduling involves going for chemo, handling it as best she can while hoping its negatives will not last so long. Her desire to be strong enough and well enough to schedule family and ASCA activities in between 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 the complete recovery you deserve.

he 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 the more forward-looking of such artist's organizations, less mired in tradition than some others, and its annuals invariably yield a number of surprises. Since the ASCA boasts close to 100 members and a good many participate in this event, it is naturally impossible to include all of them in even a fairly lengthy review. One can only hope to give a sampling of the show's quality and diversity by selecting a few works to describe and reproducing images of others. The ancient medium of encaustic is employed in a fresh contemporary manner by Annette DeLucia Lieblein in "Waiting," where a long procession of silhouetted figures is set against a tactile monochromatic ground. The painting has an ominous resonance, evocative of bread lines or other situations in which people are stripped of their individuality, and thus the human identity and dignity. Margo Mead, on the other hand, generalizes the human figure to make a more political point info work in watercolor, ink, and oil crayon on rice paper, "Dropping the Ball on Global Warming." For here, the male and female quasi-deities fumbling with the globe as though it's a hot potato in a celestial setting are symbolically stylized in a manner akin to Rockwell Kent's mythic figures. Nature is transformed in Linda Butti's mixed media work on paper, "Autumn Tree," with its radiant rainbow auras. On the evidence of this one piece, Butti' appears to be a consummate colorist with variegated strokes transmit a chromatic intensity that imbues even a single subject with a visionary quality. By contrast, Sachie Hayashi imparts an almost hallucinatory Surrealism to a desolate landscape where the flesh-colored boulders appear to morph into figures, in the oil on canvas, "Ritualistic Dance." In her intricately configured metal sculpture "Poetry of Life," created with copper, brass, and aluminum, Julie Joy Saypoff seems to present our
See Broome Street page 3

ALERT- ASCAs Annual Exhibit Will NO LONGER take place at the Broome Street Gallery. You are asked to help find a space for our 2011 Annual. As you go Gallery Hopping, look and ask. If you find something, contact Board Member Ray Shanfeld.

MIHAI CARANICA New ASCA Membe

Born December 13, 1943, Deva, Romania 1968- 1970- Attended School of Folk Art, Bucharest , Romania. 1976- received the Jury`s Special Commendation Award at the Exhibit for Amateur Artists in Bucharest & the Gheorghe Anghel Prize for Sculpture . 1979- His first oneperson show in Bucharest, followed by four others in Bucharest, Cluj, Frankfurt and New York. 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 in U.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 gently embracing in slow, voluptuous movements as well as the sensitivity and warmth of dreaming shapes, greeting the light of fantasy ( Ionel Jianou ) Mihai Caranica`s sculpture embodies a poetry of peacefulness, translated into harmony of contours in space, in the colour of stone which irradiates a dreamy state (Dan Grigorescu ) STATEMENT I have a special relationship with sculpture as a medium. My earlier studies in Geology allowed me to have a more intimate knowledge of my primary materials. Knowing the inner secrets of stone helped me to anticipate the reactions of the material to the various interventions in the process of sculpting. This approach shapes the very genesis of my subject matter. The stone talks to me through the language of textures and structures, directing me to the idea that would be finalized in the finished sculpture. In this subtle dialog I seek a quiet harmony that pleases the eye and the soul.

THROUGH THE EYES OF THE BEHOLDER: BRUCE KOZMA

By Estelle Levy

t is ASCAs delivery day at Broome Street Gallery. Artists 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 helterskelter against walls, one against another or propped up on pedestals. Finally, there is the wait for the upstate group delivery by Art Mover Mike DePompeo, making it a total 65 ASCA artists who checked in. Yet the next day when the Jurors arrive and for the Reception, the chaos has been transformed into a beautiful panorama of meaningful art. This is the result of the work of BRUCE KOZMA who is hired to apply his unique skills in organizing our work for display. Bruce himself is an artistperhaps an outsider artist, self-taught in the specialty of stained glass. His journey began in 1977 in Stamford, CT when a friend who had been staying in Bruces home moved out, left behind pieces of glass and some tools enabling Bruce to experiment with it. He soon came to recognize stained glass as HIS medium of choice. Later he established a business in FloridaThe Rainbow Connection---where he produced commercial and residential commissioned work while also developing his own artistic style. Bruce in 1986 opened The Rainbow Connection Gallery in Buffalo, N.Y. where he and other local artists exhibited their works. Bruce said: I watched the reactions of gallery patrons and listened to their comments as they looked at the work. That helped shape ways of experimenting with gallery presentations to empower viewers to have a positive and memorable gallery experience. When Bruce came to New York City, he exhibited and later worked at a Soho gallery where he was general manager and freelance curator. He became known for his annual Summer Salon Series, an exhibition that included selected artists work along with his own.
See Bruce Kosma page 9

Mihai Caranica` Draped Figure 3

AN SOS ALERT As you can see by the above article ASCAs Annual Exhibit Will no longer take place at the Broome Street Gallery. Therefore All 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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Broome Street Continued from page 1

daily existence as a kind of antic merry-go-round. Cutout figures cavort within and around an architectural construct suggesting a fancifully styli skyscraper conjured up by Alexander Calder, with whom Saypoff seems to share a talent for making metal take flight-even when the pieces stationery rather than mobile. By contrast, Bonnie Rothchild exploits the weighty quality and innate earthiness of terra-cotta to lend gravity to a semiabstract, sensually simplified female figure with a mysterious womblike opening of the located in its up-

By contrast, Dorothy Koppelman incorporates to read teapots and various cooking utensils within an abstract grid that morphs on closer inspection into a kitchen in her beautifully organized composition, "Cooking on a Brick Wall." Less covert modes of abstraction also make a strong showing: as seen in Elaine Alibrandi's tactile composition and vibrant yellows and greens, veined by intricately interwoven dark lines, suggesting an arboreal inspiration. And Leslie Shaw Zadoian's, covering forms project and inexplicable sense of tension in "Situation," a

per torso, pregnant with an egg shaped inner form. The title of Rothschild's piece, "Intertwined," only serves to heighten the mystery, leaving the viewer tantalized by a variety of possible interpretations. Another sculpture-this one by Lea Weinberg-thanks a quite different statement with a similar title, "Entangled." The medium is wire mesh and although the shapes it takes are mostly abstract, they strongly suggest a couple struggling against the ties of codependency, yet bound by the stronger force of destiny, as they wind around each other like wisps of smoke. Still life also makes an appearance in distinctly different guises: In her oil painting "Still Life with Susquehanna," Georgiana Cray Bart presents us with an arrangement of bottles and a bowl of apples, all in subdued green or blue hues set before a window looking out upon a body of water and autumnal trees. The serenity of the scene owes much to Bart's mastery of subtle color harmonies. 3

darkly brooding mixed-media work on canvas. Then there is Rose Sigal-Ibsen, well known for her personal approach to Asian ink painting, and represented by one of her more abstract excursions, with wet into wet washes that flow and spread out shadowy ways, evoking myriad associations in the matter of Rorschach blot. By contrast, Miriam Wills, and other artists familiar to many New York gallery goers, weighed in with "Coloring Me," a composition in acrylic and collage on canvas featuring her characteristically fractured and packed neo-Cubist planes and vibrant primaries. As the works briefly noted above and the ones reproduced with this review indicate, the ASCA's 93rd Annual Exhibition is a varied and reporting free-for-all and well worth adding to ones gallery hopping itinerary. ASCA AWARDS LISTED ON PAGE 9

MANYMORE THAN USUAL QUESTIONS ASKED

By Estelle Levy

WIRE MESH SCULPTURES CONVERT TO BRONZE

By Lea Weinberg

hat really happens when the jurying takes place? This question is being addressed. Of course, something would be seriously wrong if one could provide the exact details of what transpires. Nevertheless, one can surmise, one can deduce, one can infer! After formulating my own view of what could go on during a Jurying process, I contacted some whose assessment of the process could be trusted. I found there was concurrence. Yet the following view is subjective because no one else should actually be present. As a way of assuring ASCA Members that no overt or covert ASCA influence was involved, I can say with certainty not one ASCA Member was present during the Jurying. ASCA President Bobby Schiller and her husband Charles came to the Gallery. I met them there. The Jurors were greeted and given the list of award categories. They were advised to first walk around alone. Then Bobby / I and Sitter Lisa Robbins went across the street to the Cupping Room and hung out. Charles was left behind in the Gallery to read his paper while the Jurors looked around and made their choices. Each year ASCA seeks to find three Jurors who agree to jury without pay who are willing to give of their own time for their own myriad reasons. The only perk involved is free lunch in the Cupping Room. At that time, personality clues can be gleaned even though the results are not yet shared. It is expected the Jurors will be professional, ethical, and responsible adults who guard and protect their own reputations as they Jury for an organization such as ASCA. It is expected sometimes askedthat Jurors not focus on or pitch for anyone they might know or wish to promote. The goal is to be objective and fair to the entire membership. However, it cannot be assured that such professional expectations and values will be honored or actualized. It is suggested they first go around alone; one can assume each ones notes will differ considerably from the others. Clearly, the process can become one of negotiations, maneuvers or will. Some could be very serious and thoughtful about the responsibility assumed while 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 being cooperative to compliant to being willing to go along to assertiveness 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, and skills. Each, as respectful peers, could point out qualities in their respective choices getting the others to see what may have been missed. If, on the other hand, one of the Jurors has an agenda or a dominant personality or the
See Jury page 10

create Semi abstract sculpture in bronze, wire mesh, mixed media. The wire mesh is my main sculpting medium. I always start working with wire mesh, even when the finished artwork will eventually be bronze. The first step of my process begins with a three dimensional drawing Using a piece of flat wire mesh instead of paper, my fingers turn into pencils and create the initial form. Then, I continue with various tools. My wire mesh needs to be flexible enough to work with, and yet strong enough to keep its shape. I use wire mesh of different thicknesses, combined with mixed materials. When I create a bronze sculpture, I am actually working 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 mold making. Third and last stage is preparing the wax model for the lost wax process. Finally, the sculpture is cast in bronze. My sculptures and reliefs use the human form to express the emotional interaction between individuals, revealing figures entwined together. Each sculpture starts with one female figure, which evolves intuitively into additional images, expressing Togetherness. As an example: 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 artworks are both multifaceted. While the bronzes entangled structures are solid, the semi transparency of the ethereal wire mesh allows the viewer to see 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.

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

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

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Close Connection This sculpture represents motherhood. The son is created out of his mothers body, a recall of biblical Eves creation out of Adams rib. The mothers breast is also the sons head, so they are one body, inseparable Connected Vewing the front, we see two figures sitting very close to each other- mother and daughter, unwilling to disconnect the umbilical cord. It could also represent any relationship between two human beings. From the side view, a third creature emerges out of both, a symbol of infinite connection.

WhereTo Where - Do I Prefer - To be? Reviews of Leas 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: Lea Weinberg crystallizes her thoughts in pleasantly haunting bronze figures which appear to have grown like stalagmites from an organic verve In February 2010, Artcards a review by Peter Neofotis: One might also spend some time contemplating Lea Weinbergs love-filled bronzes Whereto and Attachment. The two human sculptures are evocative of geological formations, formed by a miraculous wind or water

s a memoir of Jessica Iwamoto's life from 1959 to 1989. 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 depression and despair? When she was able to capture the color and design of God's beautiful world with paint and brush, her joy was indescribable ---- but short-lived. She would 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 moving story of one woman's journey from suicidal thoughts to sublime happiness. By developing an intimate, personal relationship with Jesus Christ, Jessica was born again ---- and finally able to move from a dark, destructive existence to a productive life full of joy and light. Jessica Di Fabio Iwamoto is a talented actress and successful painter and illustrator who studied fine art painting and the art of design and fashion illustration at the Vesper George School of Art in Boston Massachusetts. She earned her BA and MA from SUNY Empire State College and taught at the Fashion Institute of Technology and Marymount Manhattan College, both in New York City. She has lived in Manhattan, Los Angeles, and Florence and Milan, Italy. She and her husband, Sueyoshi Iwamoto, currently live in New York City

e need volunteers to help continue the survival 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 artist@hankrondina.com

ASCA ART GALLERY

he ASCA ART GALLERY presents examples of art by ASCA members selected from the Gallery Album. Please send photos of your recent work, and if space permits, they may be included in upcoming editions of the Newsletter. Remember to include your name, the title of your work, the medium, and an arrow showing which side is UP. Mail your photos to Hank Rondina, 209 Lincoln Place, Eastchester, New York 10709, or e-mail your jpegs to artist@hankrondina.com

Georgiana Cray Bart

"Pear Table" Pastel

Rose Sigal Ibsen Lotus Pink Flower painted on cloth

Harriet FeBland "X Factor" Low relief--construction/painting

Nikolai Buglaj Radicial Optical Illusion Ink on paper

Estelle Levy Evolution Sculpture/mixed media

Margo Mead Grand Canyon Sentinel

Elaine Alibrandi Laden Oil mixed media

Ray Shanfeld Pink Lady

Isabel Shaw Standing Figure Bronze

Kelley Ryan Stengele August 15,2010 mxed media collage

Barbara Browner Schiller Gimme Scheltrer Bronze

Jeremy Comins Enclosed Forms #8 Wood

Eleanor Comins Web of Life Fiber/Wood

Olivia Koopalethes Steppin Out collage

Bruce Kosma, Continued from page 2

Subtitled A Celebration of Possibilities, a body of work by local and nationally known artists was presented at The Broome Street Gallery to packed receptions and simultaneously at Cedar Tavern where the after-party took place. One year it traveled to a venue in San Francisco for three weeks. If you have seen ASCAs Broome Street Gallery shows, you have seen its walls on which Bruces unique skills are readily apparent. If you wish to reach him, he can be contacted in Fairfield, Connecticut at 203.455. 4272. You can also reach him via e-mail at TheKozmaTeam@gmail.com 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

Miriam Wills Colorful Me acrylic/collage

Inspired by Fred and Ethel Murtz (I Love Lucy TV showLucy and Rickys neighbors) and abstract art, there was no 'predesign' to Ethel, which was created as a journey in expressionism. This became Bruce's signature piece and is always accompanied by a sheet of lined paper and a pen, and asking the question "What the Hell is it Ethel?"

Jury, Continued from Page 4

Jurors, from previous page

skills needed to handle people, that Juror gets the desired choice. The other two Jurors may not even be aware of what is happening because of the subtlety of the maneuvers. It is possible the dominant one might back off after securing the desired choices or is dominant throughout. If by chance there are two strong personalities 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 all the Railroads. It is also possible all three Jurors will initially agree on certain works. Despite the questions, discussions and chatter about the process only the Jurors know the basis for the choices. Over the years, so many ASCA members have received awards. These are calmly accepted with grace and noted on resumes. And so it goes year after year after year.

most impressive. Work by contemporary and modern masters is available at the Gallery as well. The Gallerys focus is 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 Galleries at The Interchurch Center. He attended New York University/Parsons School of Design where he studied Fine Arts, Illustration and Graphic Design. Frank's history also includes employment with Smolen, Smith & Connellya motion picture advertising company. He served there as Art Director and focused on designing posters for Coppolas Apocalypse Now, Streisands Funny Lady, Disneys The Black Hole, Spielbergs Close Encounters of the Third Kind, Scorceses Taxi Driver, All The Presidents Men, Star Wars, Rocky, Annie and The Deer Hunter. In addition, Frank has impressive experiences in publishing. He served as Head of the Art Department and Group Art Director at Newsweek; Conde Nast, Time Magazine, American Heritage Publishing, Disney Publishing also benefitted from his talents. Frank's art background is given special dimension because he also was Co-Founder of Communicators For Nuclear Disarmament; he designed posters, brochures and printed matter for Physicians for Social Responsibility, Lawyers for Social Responsibility, War Resisters League and other nuclear disarmament groups. The Interchurch Centers Art Galleries are located at 475 Riverside Drive, New York City 10115. Groundbreaking ceremonies 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 in community development, educational endeavors and intercultural/religious exchanges. With quality as its standard, the Center originally engaged two experts from the Museum of Natural History to develop the moveable posts and support cases for the Gallery. J. Sanders Eaton of Gallery & Studio Magazine referred to Interchurchs Galleries as: one of the citys most handsome exhibition venues. The Centers focus is to be a positive presence in the surrounding neighborhood. As of this deadline, MARLENA VACCARO has not provided the requested information. I can share she has been employed by the Carter Burden Center for the Aging for many years. She convinced its Board to open an Art Gallery for seniors and to place her in the position of its Director. The new 307 Gallery is located at 307 Seventh Avenue, N.Y.C. between 27th & 28th Streets. The Carter Burden Center for the Aging is located at 1484 First Avenue, New York, N.Y www.burdencenter.org/ programs/connections. html. It was in the early 1970s when New York City Council Member Carter Burden acted on his recognition that the needs of his Upper Eastside constituents were not being served well. This awareness prompted him to create the Center which provides a wide range of services to the aging. William Dione is Executive Director of the Carter Burden for the Aging.

ASCAS 2010 JURORS

by Estelle Levy

LESLIE GARRETT SCHOULTZ of the Nohra Haime Gallery seems not to have been a long-time New Yorker. Her BFA in Art History is from the University of Arkansas at Little Rock. She also has a BFA in Fine Art from the Memphis College of Art. Leslie served as Curatorial Assistant and Associate Registrar at Arkansas Arts Center in Little Rock between 2000 and 2008. She was Juror for the Arkansas Young Artists Associations competitions held in Little Rock between 2006 and 2007, Arts in the Air Family Art Festival held in Petit Jean Mountain, Arkansas in 2007 and Toys Designed by Artists at the Arkansas Arts Center in Little Rock between 2000 to 2006. Since 2008 Leslie has been with the Nohra Haime Gallery which opened in 1981 and is now located at 730 Fifth Avenue www.nohrahaimegallery.com. The new Gallery space is exquisite. It exhibits a most eclectic range of contemporary and international paintings, works on paper, sculpture which includes monumental and outdoor works. From figurative to abstract to landscape to still life to portraiture and work of the minimalist tradition, the quality and breadth of the work shown is
Next

AN SOS ALERT As you can see by the above article ASCAs Annual Exhibit Will no longer take place at the Broome Street Gallery Therefore All 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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ASCA AWARDS ANNUAL EXHIBIT 2010

Lisa Robbins- Irwin and Florence Zlowe ASCA Memorial Award Sonja Stark- Roy Moyer ASCA Memorial Award Margot Mead- Rose Heart Betensky ASCA Memorial Award Luboimir Tomaszewski- Isobel Sokolow ASCA Memorial Award for Sculpture Olga Kitt-Bernard Kassoy ASCA Memorial Award Hedy O'Beil- Bill and Rosie Haleen ASCA Memorial Award Ilse Kahane- Barbara Browner Schiller Award for Sculpture Sueyoshi Iwamoto- Alexander Rosen ASCA Memorial Award Kelly Ryan Stengele- Neva Setlow ASCA Creative Art Award Honoring Eve K. Cummings Elvira Dimitrij- American Society of Contemporary Artists Art Award Doris Wyman- ASCA Hon. Mention Award for Painting Frank Mann- ASCA Hon. Mention Award for Graphics Barbara Browner Schiller- ASCA Hon. Mention Award for Sculpture

ALL ABOUT COLOR

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

MAN BEHIND THE SCENES: DAVID PIERCE

By Estelle Levy

or many years now, David has greeted ASCA members on delivery day. It would be David. David? David? Can I leave this box here till pick up day? Do you have any tape to spare? Is there an extra pair of scissors around? Do you have the DePompeo delivery list? Did the wine arrive? On and on and on. Being cooperative to the core, David would either be running up one set of stairs or down the other. Moreover, when he was not visible, it became Wheres David! David would be present, available, and ever so helpful all day long, until an entire show was hung and everyone left. David was always there during our receptions serving wine, setting up chairs, generally helpful to ASCA Members. When our exhibitions ended and pick up day arrived, David was there..still being patient, calm, friendly and helpful. Sadly, twenty-ten was ASCAS last and final exhibition at the Broome Street Gallery. ASCA cannot just leave without extending its abiding thanks and appreciation for all the work David has done to assure the success of our exhibitions over the years. David: Keep in touch!

ndependent Press, Friday, September 24, 2010- The American Society of Contemporary Artists holds an art exhibit and sale as a benefit for the New Jersey Foundation for the Blind, to recognize blindness awareness month in New Jersey. This is NJFFB's major fundraiser of the year. "All About Color" is the theme for the American Society of Contemporary Artists, art exhibit, and sale, to benefit the New Jersey Foundation for the Blind and held the reception on Sunday, October 17 at the Foundation headquarters in Denville, New Jersey. "All About Color" raised funds to provide vision rehabilitation and wellness programs for adults with vision loss in order that they remain independent in their homes and communities, reduce falls and injuries, and avoid isolation and depression that often accompanies vision loss. The Society's show, "All About Color" gives the public a unique opportunity to invest in original art by artists, whose works are represented major museums across the country. In addition to large-scale, high-end pieces, special wall of affordable original art was planned. Student artwork will also be available for purchase. The exhibition closed on October 27. The American Society of Contemporary Artists celebrates its 93rd year. It is an exhibiting organization consisting of approximately 100 internationally and nationally recognized members. Their work ranges from representational, to the non-figurative, from the commentary to the purely aesthetic. The NJFFB is New Jersey's only nonresidential, comprehensive vision rehabilitation center, helping adults with low vision or vision impairment live with dignity and personal independence, travel safely without fear, and enjoy a higher quality of life. As a nonprofit organization that receives no federal, state, or local funding, it is entirely dependent on private donations and grants not surprisingly; donations are down this down economy.

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MEMBERSHIP NEWS
Georgiana Cray Bart Won 3rd place in the Endless Mountain Council of the Arts Regional, Tunkhannock, PA this past summer. winning painting " Pear Table" (See Gallery), a pastel still life.-ALSO-invited to exhibit at Luzerne County Women in Pastel Invitational, Misericordia University, Dallas, PA, Mar.13 th -Apr. 20th.-ALSO-Currently teaching Drawing At King's, Wilkes -Barre, PA and will be teaching Painting at Misericordia University, Dallas, PA and Introduction to Art her alma mater Wilkes University Spring Semester-ALSOTeaching art to children and adults in her studio in Wilkes-Barre, PA.-ALSO-She will be giving a two day color workshop in pastel painting the Christina Debarry Studio, 10 Harvale Drive, Florham Park, NJ, May 7 th and 8th, 2011. For information, contact Christina at debarrystudio@gmail.com Linda ButtiExhibited at The Department of Fine Arts Faculty Art Exhibition, St. Johns 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 third prize out of 289 artists from 52 countries were selected to compete In the International Painting and Mixed Media Competition sponsored by the Lessedra Gallery, Sofia, Bulgaria for her painting/construction entitled "X Factor" (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, 2010 Rose Sigal Ibsen--Inducted into Whos Who in The World, 28th Edition 2011- ALSO-Interviewed on Chinamerica Radio Spectrum www.chinamericahitradio.com Estelle Levy Exhibiting at the 12th Annual WAH Salon Art Club Show Jan.15th -Feb.13th 2011, Williamsburg Art and Historical Center, 135 Broadway, Brooklyn, New York - ALSO- Tri-fold New Perspectives on Book Arts Oct.12th -Nov.27th. - ALSO-"Works on Walls II," Gallery 307, 307 7th Ave., New York, NY

Basha MaryanskaExhibiting at the 12th Annual WAH Salon Art Club Show Jan.15th -Feb.13th 2011, Williamsburg Art and Historical Center,135 Broadway, Brooklyn, New York Gerda Roze-Solo exhibit "Homage to the Circle," at the Gallery's of The Interchurch Center 475 Riverside Dr., NYC Apr. 7--May 13th, Reception Apr. 14th, 4-7pm. Gallery hrs. 9-5pm Mon.-Fri. Lea WeinbergExhibiting three of her wire mesh sculptures at Attleboro Arts Museum 86 Park Street, Attleboro, MA Members' Exhibition Dec. 11th,2010 to Feb 4th,2011ALSO- Counterpoints The New York Society of Women Artists at Broome Street Gallery, Feb. 22 nd Mar.13th, - ALSO- Together at New Century Artists Gallery, Chelsea, NYC (530W. 25th Street, Suite 401 New York, NY 10001)from Mar.1st to Mar.19th.

ASCAs Annual Exhibit Will no longer take place at the Broome Street Gallery. Therefore. All 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.
ASCA OFFICERS President Barbara Schiller President-Emeritus Harriet FeBland Vice-President Raymond Weinstein Vice-President Raymond Shanfeld Vice-President Frank Mann Treasurer Allan Simpson Recording Secretary Imelda Cajipe Endaya Corresponding Secretary Lisa Robbins Social Secretary Olga Kitt Historian Frank Mann Board of Directors: Elinore Bucholtz, Hank Rondina, Fred Terna ASCA NEWSLETTER Publication Director Hank Rondina CONTRIBUTING WRITERS Mihai Caranica, Independent Press, Jessica Iwamoto, Estelle Levy, Gallery and Studio-- Marie R. Pagano Hank Rondina, Lea Weinberg CONTRIBUTING PHOTOGRAPHERS Hank Rondina COPY DEADLINE FOR THE NEXT ISSUE MARCH 15, 2011 Send your material to: Hank Rondina, 209 Lincoln Place, Eastchester, New York 10709; Telephone (914) 793-1376; or email it to artist@hankrondina.com
ASCA Newsletter is published 4 times a year. Copyright 2009 by ASCA Permission is required to reprint any portion of this newsletter.

e need volunteers to help continue the survival 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 artist@hankrondina.com

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