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american society of contemporary artists NUMBER 46




By Ed McCormick, Gallery and Studio

Much has been written, particularly in Michael Sullivan's definitive history, "The Meeting of Eastern and Western Art," about the influence of Japanese art on the Impressionists and Post Impressionists. Other writers, myself included, have belabored the debt owed by the Abstract Expressionists to the ancient "action painters" of Zen literati in painting. Less has been said, however, about the contributions made by non-Asian artists to Japanese and Chinese painting, particularly in the present multicultural Europe of ongoing art history. One of the most dedicated of such artists is Romanian born Rose Sigal-Ibsen, who has lived and worked in New York City since 1957. Originally, like her late husband Albert Dov Sigal and her son Daniel M. Sigal, Sigal-Ibsen was an enamelist. But she felt that she had finally discovered her true artistic vocation after starting to study Sumie brush techniques with her beloved "sensei" Koho Yamamoto, a well-known painter and teacher who worked out of a storefront studio and school in SoHo, and whose student she was for nine years. In the years since, Sigal-Ibsen has become well known in China and Japan, as well as in her adopted country, for being one of the most proficient and respected Western exponents of this exacting art form. But one suspects that this petite woman, who still retains traces of her Romanian accent, has won the admiration and endorsement of C. C. Wang and Wang Fangyu among other esteemed Asian painters as much for the uniquely European inflections she brings to Japanese and Chinese brush painting as for her reverence toward its traditions. This point is well made and the auspicious choices that Frank De Gregorio, the curator of The Interchurch Center, has made for Sigal-Ibsen's splendid solo exhibition of painting and calligraphy at the center's elegant Upper West Side Gallery. Perhaps one of the most striking example to the large horizontal scroll in ink and watercolor entitled "Wisteria," in which web the subject matter is quintessentially Asian, the artist's coloristic lyricism and staccato brush technique – particularly in her "pointillistic" handling of the delicate purple blossoms suspended from the gracefully curving limbs – appears equally beholden to Impressionism. Here, the fluidity of the artist's technique, even in the (See Sigal-Ibsen page 2)

By Maureen Flynn, Gallery and Studio


ne of the prevalent tendencies in "Configurations," an exhibition curated by participating artist Basha Maryanska, is a species of allusive semi-abstraction with referents in the visible world. It can be seen in the paintings of Lilya Pavlovic; whose exposure to different countries and cultures during a childhood that involve much travel lends her paintings a unique appeal, with fanciful figures in exotic costumes harmoniously enmeshed in vibrantly gorgeous landscape settings. Although Carol Loizides' painting some more overtly abstract, they possess their own allusive characteristics, conjuring nature and a strong sense of place with richly layered pesto hues that evoked landscape while making use of the free-form drips and other techniques one normally associates With Abstract Expressionism. By contrast, Cynthia McCusker move easily between overt representations of nature, as seen in "Perseverance" – and acrylic on canvas in which a body of water is illuminated by being the blinding light pouring through masses of dark clouds to the somewhat more mystical modal abstractions seen in her encaustic painting "Angelheart." Then there is artist/curator Basha Maryanska, who employs a mode of color applied with a luminous glazing technique to capture how the mysteries of nature survive in the city as "Walking Through Manhattan," seen in her radiant painting "Walking Through Manhattan," with a brightly lighted windows of buildings juxtaposed with more abstract rectangle forms and explosions of verdant foliage entries to highly poetic effect. Four other artists in the show specializes figurative (See Configurations page 2)

(Sigal-Ibsen Continued from page 1)

the manual dexterity that comes with practicing brush calligraphy in school – and even manipulating chopsticks from an early age! – One can only assume that this attitude still prevails in some quarters (at least among those Chinese and Japanese artists who have not succumbed to the fashion for all things Western). Perhaps were Sigal-Ibsen's extraordinary skill with the brush is most obvious, is in the practice of calligraphy, and not that is fully as esteemed as painting in Asian culture. Indeed, in his classic text, "Chinese Calligraphy," originally published in 1938, the Chinese scholar Chang Yee was already making analogies between the aesthetics of calligraphy and those of modern abstract art. And, an artist such as Rose Sigal-Ibsen, who is not fluent in the Chinese language – aside from studying the visual qualities of the specific characters that she has learned to paint so fluidly – may be in the best position to put a fine point on this idea. For that Sigal-Ibsen see these calligraphic forms with a fresh eye, as truly visual / aesthetic phenomena, is especially apparent in works such as "Snake," with a character for the word is transformed into the most sinuously serpentine swirl, or "Dancing," with a simple twist of the wrist holding the brush is sufficient to imbue the composition with a sense of Terpsichorean movement. Rose Sigal-Ibsen recently stated that she is not planning other New York solo exhibitions in the foreseeable future, that she hopes to concentrate on participating in more group shows abroad. Thus this splendidly curated survey offers what may be the last opportunity for a while to encounter a substantial number of works by a Western “In Summer Balloons Are Flying artist who, like Mark High in The Sky” Tobey, Morris Graves, Norman Bluhm and the select company of others, takes inspiration from Easton on to forge their own unique mode of expression.

last palpably pigmented medium of aquarelle, evokes comparison to Monet's famous water lilies, just as the delicate yellow in the portion of sky bordering the dangling blossoms along the bottom of the composition, evokes the Impressionist ideal of "color as light."


An even more overtly Western "overall" approach to color can be seen in the richly mottled mixture of fuse – especially yellows, pinks, and blues – of another composition called "In the Summer Children…" These bright colors are mingled with sumptuously translucent, subtly varied tones of gray ink wash and overlaid with simplified figurative linear forms adapted from the primitive pictographs of ancient calligraphy. These pictographic shapes, so like the joyously scrollable personages of Klee or Miro, provide a sharp contrast to the more fluidly abstract modern characters in which the picture's whimsically evocative title is inscribed on the composition. Here, too, are thinly floating orbs in red, blue, green, yellow, red, and purple, that become greatly enlarged in yet another composition called "In Summer Balloons Are Flying High in the Sky." The circular shapes, each with a fine stroke indicating a balloon string dangling down, are solidly filled with color in a manner more usual to Western and Eastern painting. Yet they harmonize quite compatibly with a flowing mass of diluted ink washes that deepens towards the bottom of the composition, literally suggesting balloons "flying high in the sky," above the clouds. Sigal-Ibsen is particularly imaginative when it comes to translating and adapting the forms of ancient calligraphy to her own visual vocabulary, as seen in two other works titled, respectively, "Rooster" and "Horses on Parade." In both, the characters become perfect foil for spontaneous brushwork, as she emphasizes their pictorial aspect by virtue of lines that can thicken or thin on the turn of a dime. Indeed, such facility may explain why Sigal-Ibsen and then acceptance quite rarely shown for a foreigner among traditional Asian painters. For as Michael Sullivan points out, name unknown, while acknowledging the realism of Western art, "could not take it seriously as painting since it showed so little skill and feeling in the use of the brush." Since cultural chauvinism dies hard and since it happens to be, true that few non-Asian artists possess


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


(Configurations Continued from page 1)

By contrast, a rare formal beauty and live in the series of paintings centering on the elaborately costumed figure of a loan Japanese geisha by Maria Hegglin, which are especially notable for their expressively simplified forms and subtle subdued colors. Several other artists exhibit landscape and cityscapes that emphasize the vitality of both genres. Virginia Donovan, an area resident, puts a more contemporary spirit on the tradition of the Hudson Valley School with painting that, rather than being panoramic; portray the local landscape and the famous River for a more intimate perspective in miniature (4 x 5") canvases with light filled colors and invitingly creamy textures. By contrast Wendy Norton captures catches the romance of New York City with vigorous bravura brushwork, moving from a sunny day In Washington Sq., Park; uptown to the skating rink in Rockefeller Center in a snow flurry; to a night showing a couple passing under the canopy of an elegant hotel or apartment building; imbuing each with its own distinctive atmosphere without sacrificing stylistic consistency. For Beata Sawicka, Chiaroscuro, the play of light and shadow on shrubbery and foliage, is the unifying factor in compositions marked by a singular freshness of execution that comes across especially in her paintings of shadows along the garden path, as well as in another composition where slender saplings, some already blooming, others still bear of limb, are set against the pale blue sky intersected by delicate wisp of cloud. The light and the paintings of Malgorzata Kisielewska, on the other hand, appears to emanate from an emotional rather than natural source, lending her paintings and imaginative dimension that is most dramatic in "At Sunrise," a painting of heavenly illumination streaming into the depths of a forest with sets Malgorzata apart as a spiritual descendent of the great German Romantic landscape painter David Caspar Friedrich. The three final painters can only be classified as pure abstractionists: Hank Rondina sprightly, brightly colored compositions in painting collage share playful qualities with predeTrapezoid Series cessors “So What� such as Paul Klee and Jean Miro, yet they have their unique slant, due to the artist's relationship musical composition, made evident in both his titles in the rhythmic movement of his forms.

sculpture in relief, each in her own distinct manner: Susan Holford combines handmade paper, wood, rusted metal, roots, bark, leaves, teabags, tree limbs and other found objects to create evocative 3-D assemblages, such as "Sanctuary," in which a partial female figure with realistically model serenely benevolent facial features and gentle hands plays host to groups of stuffed birds and another piece called "Wrapped," with two faces, swathed with a natural materials like a Native American mother and her papoose, eloquently evoked traditional women's roles. Bonnie Shanas, on the other hand, lends the unusual material of industrial wire mesh an unaccustomed sensuality, in her artfully fragmented depictions of loving couples dancing or embracing, giving them a sense of the classical and the eternal that locates the work handily in a host of art historical prehistorical precedents, even while it remains at immediately contemporary as the plaster people of George Segal. RenĂŠe Weiss Chase, a fashion designer turned sculptor had an epiphany during a ceramics class when the instructor used the term "dart," inspiring her to create dresses in clay. The stately sculptural forms that resulted, however, go beyond those of ordinary dress forms, becoming glowing monuments to the feminine mystique, their graceful, slinky contours evoking visions of elegant filmic femmes fatale such as Jean Harlow and Marlene Dietrich. Then there is David Green, who does something similar for the masculine physique in marble and alabaster pieces such as a powerful "Male Torso" and the gracefully arching "Male Dancer," the latter charge with a sense of energy and movement rarely seen in contemporary sculpture. The final sculptor Jim Lennox has a delightfully quirky way with aeronautical imagery, as seen in both its tall painted steel piece "Rocket #1," which has a "steampunk" quality, as well as in "In Memory of Flight," a play that appears to be morphing into a robotic bird. In "Red Shoes," however, Lennox pays tribute to Saul Steinberg, transforming one of the great New Yorker illustrator's drawings into an intriguing 3-D portrait. Figurative painting as well makes an auspicious showing in this varied group show. Witness Agnieszka Szyfter's large acrylic and oil on canvas, "The Last Supper, 2011" which outdoes even Andy Warhol's late version of that great subject for Szyfter's audacious inclusion of likenesses of Bill Clinton and Bill Gates at the table, as well as the same artist's erotically charged mixed media on canvas "The Kiss of Spring," in which a couple embraces amid a plethora of sinuous Art Deco floral forms and hot colors. By contrast, Alana Alan embraces quiet moments, as seen in her "Nicole on the Bench" and "Sunglasses Girl," both of which capture thoughtful young women in public places, bracketed between colorful background shapes that lend a striking underlying tension to otherwise reposeful compositions in a manner akin to Richard Diebenkorn.

(See Configurations page 4)




By Hank Rondina

By Hedy O’Beil


The following is a paper completed in August 1980 for Dr. George Corbin’s Modern Painting class at Lehman College

so enjoyed reading a reprint of the article in ASCA's Newsletter (Winter 2011 – 2012) containing excerpts by Adolph Gottlieb from the 1955 catalog, "The New Decade at the Whitney Museum." For example, in response to the following question about his art which was asked many times, "What do these images mean?" Gottlieb replied with some irritation, "this is simply the wrong question. Visual images and not have to conform to either verbal thinking or optical facts. A better question would be, "Do these images convey an emotional truth?" This is really good, so juicy to ponder. No, nothing new for today's hyped verbiage, but said clear and simple. No question about it, "Emotional truth" is the bottom line then and now. Often I wonder when I see Chelsea gallery exhibitions, "Is there any depth of feeling here?" If not, then what is going on in these pictures on the white walls with high ceilings, complete with a receptionist or two who almost never looks up? The computer, for sure, if all more interesting than the inquiring visitor standing in front of the counter wanting to know more. Perhaps you are the visitor feeling frustrated, not getting any answers. Gottlieb continues, "I believe that art should communicate. However, I have no desire to communicate with everyone, only with those whose thoughts and feelings are related to my own." Wonderful again! Right on, Adolph. He says "my aim has always been to project images that seem vital to me, never to make paintings that conforms to the pattern of an external standard…" He goes on to comment on the quality of the paint on the canvas during the heyday of Abstract Expressionism, how it was applied… Was it thick and gusty, veiled over within washes or scraped on with a palette knife? Gottlieb states, "Paint quality is meaningless if it does not express quality of feeling. The idea that paintings merely an arrangement of lines, colors and forms is boring." He continues, "Subjective images do not have to have the rational association, but the act of painting must be rational, objective and consciously disciplined." What? I' can't believe what I am reading. Now Adolph, this is where we part. I am sorry because I believe all along we were kindred spirits. Alas! To repeat, Gottlieb said… "The act of painting must be rational, objective and consciously disciplined." No, no, no! I have gambled my life as a painter on the rational and the nondisciplined. The more free, more expressive. Therefore, his freedom of spirit expressed in the painting of a hodge -podge, a mish-mash, just plain junk? – Then tear it up and throw it out. But that I have a huge dumpster for paintings by Pollock, de Kooning, Gorky, Matta, Mitchell, etc.


uring the past two decades, Frank Stella's work has both puzzled and amazed critics and admirers. from the first exhibit in 1959 of the black paintings, variously described by critics and art historians as "austere," "semi -icons," "enigmatic," "hypnotic," "mysterious," "pinstripes,"1 to more recent works, in which the artist's "dynamic use of color and its relation to structure"2and "calculated abandon"3 have been heralded by reviewers, Stella's work continues to excite and baffle. According to Robert Rosenblum, an art historian who has enthusiastically followed Stella's work from the Black paintings to the present, Stella today exerts a vital, directing and challenging force on an ever-changing art scene.4 A study of Stella's works past and present, will attempt to reveal that although this artist was influenced by other schools of painting, specifically, Fauvism, Abstract Expressionism and Synthetic and Analytical Cubism, his works, nevertheless, like those of Matisse, are extremely difficult to classify and exude an individuality that had been and is unique in art history. In order to recognize and fully appreciate "the ————————————————————1

William S Rubin, Frank Stella (New York, 1970), pp. 16 – 46. Jeannie Siegel, "Recent Colored Release," Arts, September 1978, p. 152. Robert Rosenblum, "Frank Stella's New Art: Eye Openers," Vogue, February, 1979, p. 246. 4 Ibid.,p. P96. 5Ruben, P. 7. 2 3

(See Stella, page 5) (Configurations continued from page 3)

By contrast, color is exquisitely refined in the collage paintings of Katherine Hart, where the emphasis is on texture in line, as seen in compositions such as "Memory" And "Mind Mapping," with their floating shapes and bits of string in other found elements tossed about in layers of monochromatic, liquefied pigment like elements caught up in a blizzard. Then there is Veryal Zimmerman, another artist enamored of monochromes, whose paintings of flowing, amorphous forms suggest unearthly things, such as phantoms and vortexes, as they swirl and turn in compositions possess of the unique visual drama.


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

(See Gottlieb next page)


(Stella, continued from page 4)

(Stella Continued)

authentic originality"5 of Stella’s work one would first have to consider the period in which he began to paint. By the late 1950s and during Stella's last years as a student at Princeton University,6 "Abstract Expressionism was experiencing a period of serious reappraisal and self -examination, not to say a crisis of conviction.”7 Nonetheless, Stella, under the influence of Prof. Williams Seitz and Stephen Greene, who "are very much a part of the New York avant-garde,"8 was "very taken with Abstract Expressionism, largely because of the obvious physical elements, particularly the size of the paintings and the wholeness of the gesture."9 The roots of abstract lay in the ability of a given artist to abstract from within. Rudolph Arnheim, in his book Visual Thinking, presents a definition of abstraction. He relates abstraction as "the struggle to reconcile two divergent demands… (which struggle) comes about because contemplative thought in the scientist, the artist, or anybody else-these have the nature or principle of things, at the focus underlying their appearance and behavior."10 Abstracting from within and the importance of the interaction between artist and canvas where crucial factors in the creative process for the artists of the New York School. How did Stella process information gleaned from the art of the 50s? Although his early paintings “still arrived that improvisational,”11 He soon reacted against the New School and expressed a need for “…Something that was stable in a sense, something that was not constantly a record of your sensitivity, a record of flux”12 At this point, Stella began to formulate his paintings. He thought the mother intellectually and relied on the cognitive process. The black series was pivotal and demonstrated his disenchantment with the philosophy of the abstract expressionist movement. This series, perhaps, speeded Stella development ——————————

and led to his use of the series as a major tool in his form Of artistic expression. Learning from his own painting, An artist will, more often than not, we introduce the color, gesture, shape or composition in his next work. One of the outgrowths of the Black Series was that Stella began to construct the canvases and shape them in a decorative sense, thereby relying more on the motif, just as Matisse relied on the decorative function of painting. Stella, in the Black pictures, try to different kind of decoration "uninflected and disengaged from any implications of the Cubist grid."13 He solved his compositional problems by utilizing the entire rectangular shape of the canvas and bringing the “pin-stripes” to the framing edge. He also use the shape of the canvas as an integral part of the painting and pattern. While other artists employ the shaped Kingsbury Run frame and painted inside it, Stella’s shaped canvas “was a function of the pattern governing it, and their identities were inseparable.”14 These irregular shaped canvases began to surface in Stella's Aluminum paintings, in which notches echo the linear design of the picture plane. One can readily see how Stella' s pioneering techniques in the use of shaped canvas work in the painting "Kingsbury Run," one of the first paintings in the Aluminum series. Here again, Stella identifies the "field-shape with that of the pattern of the surface."15 this emphasis on shape, according to Michael Fried is the Aluminum pictures their "power to hold" and "restores shape to help." 16 The Black, Aluminum and Copper series mark Stella's reaction against the intuitive principles of the New York School. A careful study of these works, however, does not reveal links with Matisse and the Fauves. For example, in analyzing Stella' s Black series, one can see the stripes of raw canvas-the negative space created by the black bands. When the viewer overcomes the initial —————————————


Ibid., p9. Ibid., p7. Ibid., p9. 9 Ibid. 10 Rudolph Armheim, Visual Thinking, (California, 1969), pp 175 – 176. 11 Rubin,p. 13. 12 Ibid, p. 13 7


Ibid, p. 29 bid, p. 50 Ibid, 16 Ibid,, p.53.


14 15

(See Stella, page 12)


(See Stella,next column)

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

(Gottlieb, continued from page 4)

Since Gottlieb was not too keen on geometric painting, should we throw out Mondrian as well? Yet, he says, "I love all paintings that look the way I feel." Now that is pure and freely stated like an innocent child. Once again I am won over by Adolph and become his friend. But, for me as an artist, words like "rational," "objective," and "disciplined," Miki go cold and angry. What do you think?


CURATOR’S COMMENTS: PATTERN, RHYTHM AND CYCLES Updated Sat, March 17th, 2012 Pattern, Rhythm and Cycles is a lively mixture of representational, abstract and non-objective paintings, sculpture, mixed media, graphics and two photographs by thirty-one members of the American Society of Contemporary Artists, a national organization known as ASCA. Artists in this exhibit are predominantly from the tri-state area as well as California, Georgia, and Pennsylvania. The society is in its 95th year and limits its membership to 100 artists chosen by a peer revue panel. The show includes many paintings, sculpture and mixed media work. It is refreshing to see so many paintings and sculptures that are inviting due to their tactile nature. A spare green abstract painting by Maria de Echevarrai, Nina, is quietly compelling as is Annette Lieblein’s Waiting (B), a beautiful small encaustic of numerous small figures in black and white. Run Rabbit Run, a colorful, boldly painted abstract oil by Richard Karp, is small but vibrant, and Scream, a large and imposing canvas by Sachie Hayashi, demands attention. It is a turbulent abstract landscape dominated by swirling puffy clouds. Eleanor Comin’s elegant pencil and gouache drawings are intricate patterns with small little windows of color unexpectedly appearing amidst the soft graphite drawn forms. A few highlights of sculpture include Lubomir Tomaszewski’s Portrait of a Woman, an unusual mixture of rough glass and weathered wood. The glass is formed into the silhouette of a woman’s face framed by the wood resembling flowing windblown hair. When the afternoon light pours through the gallery, the face seems to glow. Harrient FeBland’s Turning, is a visually strong wall relief in the shape of a column with spiraling linear black and white ovals. In contrast, two untitled totemic-like wall pieces by Marcia Bernstein seem simultaneously ancient and contemporary. They are crafted out of metal parts and other materials with an overall rough stone finish. Jeremy Comin’s Double Pleasure is a tall and elegant geometric wood sculpture with a few smaller organic shaped components. The center of the gallery is dominated by his square format puzzle-like piece of wood and metal entitled Delicate Balance #3. Mihai Caranica’s Unknown Portrait in wonderstone is an elegant spare form as is the bronze abstract figure Counterpoise by Isabel Shaw. In contrast, Estelle Levy’s Queen of Hearts is a whimsical porcelain portrait in celadon green. The Queen smirks and proudly adorns a red flower on her “crown.” Barbara Brown Schiller has two fiber works in the show. Sunlight and Shadows depicts a striking adobe suburban house. In regard to the inclusive show theme, Schiller, president of ASCA, said, “Every artist has a rhythm to their work.”

Lubomir Tomaszewski


Estelle Levy “Queen of Hearts” Porcelain

Sandra Gold “Triangles #42 Steel

Jane Petruska “Masquerade XVI” Mixed media Barbara Browner Schiller “Child Play” Bronze

Sally Pitt “Kicking Back” Bronze

Allan Simpson “Midtown Midnight” Oil


Annette Liebline “Dark Skies” Monoprint

Marcia Bernstein “Untitled #14 Mixed media

Basha Maryanska “Terra Magna” Acrylic on linen

Harriet FeBland

“Renewal” Collage w/acrylic

Isabel Shaw “Lost in Space” Steel

Sal Tagliarino “Parallel Universe II” Acrylic


Sachie Hayashi “Scream” Oil

Elaine Alibrandi “Rhythms ” Oil/mixed media

Alan Roland “Female Principle” Watercolor

Richard Karp “Run Rabbit Run” Oil

Joseph Amabile “Red Tights” Paint/paper/collage

Lisa Collado “Renewal” Collage w/acrylic




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

María de Echevarría “Waterfall”

Hedy O'Beil “Moonglow”

Cari Clare “Behind The Mask”

Judith de Zanger "Inside - Out" Alabaster 17 x 10 x 7"

Elvira DiMitrii “Disconnected” Acrylic


Gil Passarella “Yellow Beach” Oil

Ray Schanfeld “Momentum 2”

Bonnie Rothchild “Soliloquy” Terracotta

Yanka Cantor “Daydreamer”

Margo Mead “Bryce Sentinel” Watercolor

Kelley Stengle “The Long and Winding Road”




the modulation of shape and line, space but also a concentration on the surface quality, particularly in washes a flat color. The picture evokes the sense that the artist has carefully and calculatingly . Thought

Marcia Bernstein— exhibited with the National League of American Pen Women at the Grace Institute, NYC. Feb 28 - Apr 5 2012 María de Echevarría—Will be participating in the Eldorado Studio Tour on May 19 and 20. Eldorado is near Santa Fe, New Mexico. For this event there will be 69 open studios. María will show some 40 acrylic and oil paintings. (See gallery p10) For more information contact her at 505-466-6693 or at Janet Indick— Included in the Best Of Present America Sculpture Artists Volume III book Richard Karp— Exhibited in the13th Annual WAH Salon Art Club Show, Jan. 21-Feb.19,2012 At the WAH Center 135 Broadway, Brooklyn, NY 11211 Estelle Levy—Exhibited in the13th Annual WAH Salon Art Club Show, Jan. 21-Feb.19,2012 At the WAH Center 135 Broadway, Brooklyn, NY 11211 Basha Maryanska—-Exhibited in ”Glass & Thread” Dec 9, 2011-Jan 15, 2012 and the 13th Annual WAH Salon Art Club Show, Jan. 21-Feb.19,2012 At the WAH Center 135 Broadway, Brooklyn, NY 11211-ALSO”Configurations” at New Century Artists 530 W. 25th St. NYC. Mar. 6th-24th. Hank Rondina—Exhibited in "Configurations” at New Century Artists 530 W. 25th St. NYC. Mar. 6th-24th. Julie Joy Saypoff— Exhibited in the13th Annual WAH Salon Art Club Show, Jan. 21-Feb.19,2012 At the WAH Center 135 Broadway, Brooklyn, NY 11211 Rose Sigal Ibsen— Solo Exhibit “Paintings and Calligraphy on Scrolls” Treasure Room Gallery The Gallery at the Interchurch Center 475 Riverside Dr NYC.-ALSO13th Annual WAH Salon Art Club Show, Jan. 21 Feb.19,2012 At the WAH Center 135 Broadway, Brooklyn, NY 11211 Margo Meade—Exhibited in the13th Annual WAH Salon Art Club Show, Jan. 21-Feb.19,2012 At the WAH Center 135 Broadway, Brooklyn, NY 11211

“Sabine Pass” Benjamin Moore Series

out the painting's rectilinear composition, much the same way that Stella relies on the cognitive process in his work. Matisse relates, "Form, all is in the conception-I must have a clear vision of the whole composition from the very beginning."17 “Carl Andre” Another link with Matisse Purple Series and the Fauves surfaces in Stella's color vocabulary which he launches in the Benjamin Moore series and Purple Paintings. The latter series is, perhaps, the point of departure for Stella's future work with color and constructed canvases. ————————————— 17

Herschel B. Chipp, Theories of Modern Art(California,1968, p. 134.

To be Continued in Summer Issue

ASCA OFFICERS President Barbara Schiller President-Emeritus Harriet FeBland Vice-President Raymond Weinstein Vice-President Raymond Shanfeld Vice-President Frank Mann Treasurer Recording Secretary Imelda Cajipe Endaya Corresponding Secretary Lisa Robbins Social Secretary Olga Kitt Historian Frank Mann Board of Directors: Hank Rondina, Fred Terna

(Stella, Continued from page 5)

impact of the stripes, he sees a calculated modulation of grays and blacks which belies the apparent monochromatic appearance of the pictures. This modulation create the service quality that is strongly reminiscent of Matisse, who with Derain and Vlaminck, employed scumbling, flattening, and washes of color and highly saturated color zones. "The Piano Lesson.” Matisse concentrates on the active surface in this painting "The Piano Lesson.” In his work, one observes on only

ASCA NEWSLETTER Publication Director Hank Rondina CONTRIBUTING WRITERS Ed McCormick and Maureen Flynn, Gallery and Studio, Hedy O’Beil, Hank Rondina, CONTRIBUTING PHOTOGRAPHERS Hank Rondina COPY DEADLINE FOR THE NEXT ISSUE JUNE 15, 2012 Send your material to: Hank Rondina, 209 Lincoln Place, Eastchester, New York 10709; Telephone (914) 793-1376; or email it to ASCA Newsletter is published 4 times a year. Copyright ©2012 by ASCA Permission is required to reprint any portion of this newsletter.

(Next Column)


ASCA Newsletter, Spring 2012