american society of contemporary artists NUMBER 51 FALL-2013

By Santina Semadar Panetta

T he Post-impressionism phi-losophy is to capture every

passing moment, to fix the in-cessant temporal transfor-mation on the surface of na-ture, were time and rhythms are wedged in the presentism, giving to the moment an entele-chy, a musical wave, a lumi-nous flow, a breath of life, ebb-ing dissociations and ruptures of the harmonies of the sea-sons. Claude Monet embraced the lyricism in the final phase of the post-impressionism movement. As an Artist I have chosen to work in the same movement because its rhetoric and philos-ophy permits a preponderant reality. It allows a parallel with music in the deployment of the harmonies. We do not hear the melody, but we can see it by the perfume of the poetic sequences of its chromatics. The refined poetics of the impressionist movement is the closest representation of time in his perpetual move-ment, fundamental of the momento-mori. It is an infinite connection and an umbilical linkage of the passing time. It is evident that the lyrism is the consequen (ces of a wheel of work, traversing from the Impressionism natural-ist, evolving in the evolutif, and reaching to its final phase. Technically the lyrism is the consequent of a manifesta-tion of a diversity of harmonies interacting and acting in the passivity and activity of the polychromies of synthe-sis. To be distinguished in the emerging of the impression-ist lyric, the aesthetic in its aestheticism, the philosophical impact that manifested spreads in the most obsolete sense of the emotions of the artist. The fragmentation is the base, but the goal of this approach is to reduce the dimensional sense to a dimensional optic absenteeism, in order to give metaphorically a sense of lightness to the real. The interaction is the reciprocal influence of the activi (See Time and Eternity, page 2)

TIME & ETERNITY

I t is with our deep-est sorrow that AS-

CA announced the passing of our be-loved ASCA Mem-ber, Honey Kassoy, on Friday, July 5

th,

2013. Honey was 95 years old. Her hus-band, Bernard, also an ASCA member passed away in 2008.

Riverdale Press, 07/11/13 Hortense Kassoy, who died at 96 on July 5, was an artist as adept with a chisel as she was with a paint brush. For many years she shared stu-dios with her late husband, Bernard, in both Kingsbridge Heights and Burlington, N.Y., not far from Cooperstown. The couple moved to the Amalgamated Houses in 1950 and quickly became active members of the com-munity. Among the many activities Honey — as she was known to all — embraced were the Amalgamated Nurse-ry School, the co-op’s visual arts committee, the costume ball committee, a publication called Co-op Voices and the Apricot theater group. Her sculpture, “Maternal Force,” is a permanent fixture in the courtyard of the two Amalgamated towers located on Sedgwick Avenue be-tween Saxon and Dickenson avenues. Ms. Kassoy’s reach extended far beyond the confines of the Amalgamated. She was a teacher at Evander Childs High School and a founding member of the Bronx Council on the Arts who was instrumental in founding the Bronx Museum of the Arts. Together with her husband, she hosted an annual open studio during Bronx Week celebrations. Beyond the Bronx, she was corresponding secretary for the United States Committee of the International As-sociation of Artists — a branch of UNESCO— from 1979 to 1993, serving as a U.S. delegate to its 10th Congress in Finland in 1983. She has held executive positions with New York Artists Equity Association and the American Society of Contemporary Artists. Her artistic career spanned 74 years. She graduated from Pratt Institute in 1936 and earned degrees from Co (See Honey page 2)

IN MEMORIAL

HONEY KASSOY

“Time” Oil

72x48”

2

(Time and Eternity)

-ties in the two plans; the knowledge is acquired by spa-tial interactions. (Significant or back plan, signifier or fore plan). Prebinarity is the evolutif erecting process of the sig-nificant to the signifier; giving a preponderant presence of the fragmented chromatics, it is a procedure of fusion after a long dialogue of reasoning between the signifiant and signifier, with the goal of becoming a single surface on which is expressed the final phase of the impression-ism lyric. The philosophy of the temporal elevates a dimension of a present reality by the presentism and by its reality called temporality. The temporal distinguishes from the presentism philo-sophically, by giving to the present temporal a perma-nent fixation, meaning the temporal is a permanent pre-sent. Where as the presentism, by its philosophical or metaphysical wheel, evokes the notion of the fugitive ephemeral that gives to the presentism, the notion of the non-sizeable in the present. If a surface has no fragmentation it is because there is a temporal conscience of time fixation and its antinomy the present fugitive. The symbiotic fusion of the two di-mensions becomes transcendentalism. The origins of binarity in transcendentalism it is the fusion of Divine and the human Soul, and by this cause, we understand that we are a symbiosis of God, and pushes us to fusion to a transcendent consciousness of polytheist or pantheist dimension. The binarism has inspires modern Art to transcend-ence from antiquity, before the emerging of monotheism, a contemporary veracity in function of our reality in con-nection with the scientific technology evolution. With the industrial evolution of the 19th century, the significance of time has changed, we must deal with time, it is the fusion of the temporal and the presentism, which gives an obsolete present total and complete. The impressionist Art has lightness in pictorial aes-thetic, but is deeper than lead to believe. Its content is powerful in the philosophy of existentialism. The Frag-mentation is a parameter of the subdivision of the perma-nent temporal fixed in the philosophy of the permanent wheel of time.

W e need volunteers to help continue the survival of our ASCA Newsletter. We welcome art-related articles, reviews of exhibitions and your upcom-

ing shows. Send your material to:

Hank Rondina 209 Lincoln Place,

Eastchester, New York 10709; Telephone (914) 793-1376;

or email it to artist@hankrondina.com

(Honey continued from page 1)

-lumbia Teachers College in 1938 and 1939 when her work was first featured in museums and galleries. Both she and her husband were noted for exploring a wide variety of media including oils, watercolors, wood and stone. According to a recent posting on the Bronx Council on the Arts website, Ms. Kassoy’s accolades include a scholarship to Parson’s School of Design in Paris and first prize in watercolor on painter’s day at the 1939 New York World’s Fair. She received numerous awards for sculpture from the American Society of Contemporary Artists’ annual show-cases and six fellowships from the Virginia Center for Creative Arts. Ms. Kassoy is survived by her daughters Meredith Kassoy and Sheila Kassoy Krstevski, sons-in-law Rafael Bustin and Dimitar (Mitko) Krstevski, grandson Alexander Krstevski and wife Anna Krstevski with great-grandson Nicholas Krstevski and granddaughter Toby Krstevski. A memorial gathering was held on Saturday, July 13, at 2 p.m. in Vladeck Hall, at 74 Van Cortlandt Park South on the Corner of Hillman Avenue.

PIAZZA MICHELANGELO, PIETRASANTA Across the square a golden palace glows, the past etched in its glorious facade. Lost memories so secretly repose in wooden doors, so intricately carved. In Michelangelo's cafe I doze and dream of marble from the distant hills. I wait there while my inspiration flows, to take up tools and utilize my skills. For he slept here so many years ago and waited for his marble to descend, pure marble cut from Mt. Altissimmo. Took several months before his stay would end. Nine men set my marble up for me. And now to carve , and set my image free. Honey Kassoy

3

By Maurice Taplinger, Gallery and Studio Magazine

A dventurous artists love dares. Thus the brashly mis-informed critical edict abstract painting is supposed

to be dead in the postmodern era has resulted in the ap-parent bumper crop of interesting abstractionists who approached your form and color from unexpected angles and take it in new directions. Three pages you took to dare a featured prominently in exhibition curated by fellow artist Basha Maryanska. One of the first cardinal rules of the old abstraction was that it was supposed to be nonobjective. If US the artist his or her intentions, he or she was supposed to answer as disingenuously as Willem de Kooning reportedly did well Paul McCartney asked him what one of the forms in one of his paintings were supposed to be: “I dunno, looks like a couch doesn’t?” So Sir Paul thought “Hmmm, I could do that” as he would later confess in an inter-view and took a painting to. Having been influenced by mu-sic in one way way or another. Bonnie Goodman, for one, lists “interpreting music expres-sion mystically” among the en-thusiasms a driver to paint, along with “the Bible and my-thology, images from our collective unconscious past dance…, Both in circuses, plant life” and several other things. The while she is also inspired by her collection of dolls, figurines, and statues, her paintings come off as primarily abstract anyway. Witness the acrylic painting sequels “Fugace” for one lively example. The first thing one notices is to simplify figures. But are they really fig-ures or anthropomorphic abstract forms alluding to the figure? The second choice appears correct, since Good-man’s “figures” are faithless, featureless two-dimensional entities that have the picture plane has anonymously has other shapes that seem to allude to many things and ac-tivities that invariably escape easy interpretation. Are those sinuous linear forms serpents? Surely they are serpentine; yet don’t they also seem like extensions of those slinky cloud forms in the sky, or architectural forms are also visible, suggesting steeples of high-rise struc-tures.

Let’s take another example of Goodman’s ability to confound the boundaries called “Mirror Toccatta.” wherein the previous painting they were loose and goosy, here, the so-called “figures” are more angular, with sharp edges and are strangely interlocked with cir-cular shapes around the wrists and ankles and torsos (See New Abstraction page 4)

ASCA FUND DRIVE

We are preparing new programs to benefit all mem-bers and friends of ASCA and ask you to once again help us as generously as you have in the past. Your generosity will contribute to programs and exhibi-tions we would be unable to produce without your help. Please participate in any category of your choice, and make a donation which is so necessary to artists and the visual arts which benefits us all.

"Friends of ASCA" With a donation to " Friends of ASCA," you will be listed as a "Friend" in our news-letter for one year and all donations are 100% Tax-Deductible. These are the categories:

Donors-any amount up to $99, Sponsors $100-$499, Benefactors $500-$999,

Patrons $1000-$4999, Honorary Patrons $5000 and up.

Artists - Families of Artists - Friends of Artists -Consider giving an award in your own name, (ex. The Henry Brown Painting Award) or honoring your living art-ist friend, family member, (ex. The Henry Brown Award for Sculpture Honoring David Smith). A $200 donation presents a one-time name award at our Annual Ex-hibit in 2012. Or $600 for three years, at each Annual Exhibit or $1000 for Five Years, $1600 for Eight Years Etc. All Donations Are 100% Tax-Deductible. For a Deceased Artist consider a Memorial Award at our Annual Exhibits. Ex. (The John Doe Memorial Award) or in your own name Ex. (The Henry Brown Award in Memory of John Doe) Please Note: the artists who receive these awards carry the award name in their biographies and re-sumes forever. It becomes a living memorial which honors both the donor and those honored for years to come. Please send your donations (checks made out to ASCA) and other detailed information to:

Sondra Gold, Chair 46 Mallard Rise Irvington, N.Y. 10533; TEL. 914-591-7135

Please include the following: Your Name—Check Amt — Date— Address

TEL.____________ Category________________ Award in Your Name? Honoring someone?

How would you like it written?

__________________________________________________

__________________________________________________

__________________________________________________

__________________________________________________

____________Signed________________________________

THE NEW ABSTRACTION: A FORM OF PURE VISUAL MUSIC

ASCA’s INDIVIDUAL ANNUAL AWARDS

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W e need volunteers to help continue the survival of our ASCA Newsletter. We welcome art-related articles, reviews of exhibitions and your upcom-

ing shows. Send your material to:

Hank Rondina 209 Lincoln Place,

Eastchester, New York 10709; Telephone (914) 793-1376;

or email it to artist@hankrondina.com

(New Abstraction continued from page 3)

suggesting bracelets and hula hoops, and they stand clustered in front of something that could suggest a fold-ing screen filled in with the same pale pastel hues as they themselves. But are they actually “selves” in any proper sense of that term or simply hand the elements of a basically abstract composition? One of the best examples of the fascinating duality in Goodman’ s paintings can be seen in “Silver Dancer in Shade of Blue,” with a graceful dancing figure, defined in silver outline simultaneously stands out and blends in with the intricate array of more totally abstract silver stripes, crosshatching, secular and triangular shapes that grace the vibrant blue background like symbols in an especially elaborate tic-tac-toe like game. The paintings of Bonnie Goodman confound all boundaries and cate-gories in the best tradition of the new abstraction Or perhaps it would be more accurate to say that the street artists are helping to establish a tradition in the making, as they explore new aesthetic territory, as the sec-ond painter, Larry Glickman, implies when he states, “I seek lyrical answers to problems that occur when one faces a blank space. The process begins when I create, constructs form-ing shapes, lines and textures… When colorists pushed in and on top of shapes and lines and applied again and again, and composing across the picture plane – challenging the inner eye to make rhythmic connec-tions through space in ways a musical composer challenges the synthesis of the inner ear. At some point during the complexity of this process the painting takes control of the picture and tells the pain to what to do, the painter merely follows.” The visual music that Larry Glickman conducts is nothing less than symphonic, with less saturations of color and tone consensual form to fill the entire canvas with a sense of movement and harmonic tonal variation. A true colorists in the sense that Matisse was (in contrast to his main rival Picasso, whose forte reform, to which color was a mere accessory, subservient to join), Glick-man is especially intrepid in his willingness to combine

hot hues such as cadmium red medium and deep purple with flecks of vibrant blue underpainting showing through with neon bright shades of orange and big masses of violent and compositions that threaten to leap off the wall and golf that you are physically as well as dramatically. Although many of Glickman’s organic looking form sug-gest the human body, both outside and inside (given the glistening visceral quality of his color combinations), as well as evoking aspects of landscape, nothing is ever spelled health, allowing the viewer to dry his or her own mental associations. Like the shapes in Arshille Gorky’s paintings, those Glickman’s compositions are biologically suggestive, alluding to nature without imitating the spe-cifics. Each painting is a big bowl explorative gesture in an adventure in inventing the new abstraction. The third painter, Nancy Stella Galianos born in Montréal to Greek Canadian parents, identifies with the abstract expres-sionists but adapts their voraciously spontaneous formal vocabulary to a savvy postmodern sensibility. Although the yellow violet, and blue calligraphic drips in Galianos’ acrylic on canvas “Celestial Dance” channel the visual terpsichore of Jackson Pollock, there “dance floor,” as the artist refers to her canvas, is a contrastingly soft, broadly brushed field of overlapping gestures more in the matter of his contemporary de Kooning. In other works, par-ticularly “Guided by Dreams,” the linear whirls and brash explo-sions of blue and yel-low that Galianos lays down on a virgin white ground are somewhat akin to the instant “action painting” of the showy French painter Georges Mathieu. Unlike Mathieu, who often created paintings before an audience in a pro-totype of so-called performance art, however, Galianos applies a similarly sweeping linear technique to settle statements of lyrical abstraction, such as a large compo-sition “Warm Autumn Feelings,” where her whiplash line wafts over soft patches of earth colors evoking the tones of fall foliage, or another acrylic on canvas she calls “Capriccio,” name for a kind of freeform improvised mu-sic composition. Like the other two artists featured here the work of Nancy Stella Galianos suggests a kind of visual music that revitalizes the art of purer line, form and color, chal-lenging our definition of nonobjective painting in new and exciting ways.

5

to Guido Reni in the half tones. She was especially happy in the heads of the Madonna and the Magdalene, impart-ing to them an expression of exalted tenderness. Her paintings on copper and her etchings were most attractive; indeed, all her works revealed the innate grace and refinement of her nature. Aside from her art the Sirani was a most interesting woman. She was very beautiful in person, and the sweet-ness of her temper made her a favorite with her friends, while her charming voice and fine musical talent added to her many attractions. Her admirers have also commend-ed her taste in dress, which was very simple, and have even praised her moderation in eating! She was skilled in domestic matters and accustomed to rise at dawn to at-tend to her household affairs, not permitting her art to interfere with the more homely duties of her life. One writ-er says that "her devoted filial affection, her feminine grace, and the artless benignity of her manners rounded out a character regarded as an ideal of perfection by her friends." It may be that her tragic fate caused an exag-gerated estimate to be made of her both as a woman and an artist. The actual cause of her death is unknown. There have been many theories concerning it. It was very generally believed that she was poisoned, although nei-ther the reason for the crime nor the name of its perpetra-tor was known. By some she was believed to have been sacrificed to the same professional jealousy that destroyed Domeni-chino; others accepted the theory that a princely lover who had made unworthy proposals to her, which she had scorned, had revenged himself by her murder. At length a servant, Lucia Tolomelli, who had been a long time in the Sirani family, was suspected of having poisoned her young mistress, was arrested, tried, and banished. But after a time the father of Elisabetta, finding no convincing reason to believe her guilty, obtained her pardon. Whatever may have been the cause of the artist's death, the effect upon her native city was overwhelming and the day of her burial was one of general mourning, the ceremony being attended with great pomp. She was buried beside Guido Reni, in the Chapel of Our Lady of the Rosary, in the magnificent Church of the Dominicans. Poets and orators vied with each other in sounding her praises, and a book called "Il Penello Lagrimato," pub-lished at Bologna soon after her death, is a collection of orations, sonnets, odes, epitaphs, and anagrams, in Latin and Italian, setting forth the love which her native city bore to this beautiful woman, and rehearsing again and again her charms and her virtues. In the Ercolani Gallery there is a picture of Elisabetta painting a portrait of her father. It is said that she also painted a portrait of herself looking up with a spiritual ex-pression, which is in a private collection and seen by few people.

W e are all familiar with the artists of the Renaissance: Michelangelo, da Vinci, Raphael etc. when we think

of the Renaissance their names immediately pop into our heads. However, did you ever wonder who where were the gifted women artists creating art during this time. I recently came across a book that was included in the Gutenberg Project, which publishes books that are out of copyright and are free to anyone who wishes to download them to the computer, Kindle, etc. the title of the book is “Women in the Fine Arts From the Seventh Century B.C. To The 20th Century A.D.,” written by Clara Eerskine Clement and published in 1904. Here is one you may or may not have heard of. Sirani, Elisabetta. Has been praised as a woman and as an artist by Lanzi, Malva-sia, Picinardi, and other writers until one must believe that in spite of the exaggeration of her personal qualities and her artistic genius, she was a singularly ad-mirable woman and a gifted art-ist. She was born in Bologna and, like Artemisia Gentileschi, was the daughter of a painter of the school of Guido Reni, whose fol-lower Elisabetta also became. From the study of her master she seems to have acquired the pow-er to perceive and reproduce the greatest possible beauty with which her subjects could be invested. She worked with such rapidity that she was accused of profiting by her fa-ther's assistance, and in order to refute this accusation it was arranged that the Duchess of Brunswick, the Duch-ess of Mirandola, Duke Cosimo, and others should meet in her studio, on which occasion Elisabetta charmed and astonished her guests by the ease and perfection with which she sketched in and shaded drawings of the sub-jects which one person after another suggested to her. Her large picture of the "Baptism of Christ" was com-pleted when the artist was but twenty years old. Malvasia gives a list of one hundred and twenty pictures executed by Elisabetta, and yet she was but twenty-five when her mysterious death occurred. In the Pinacoteca of Bologna is the "St. Anthony Ador-ing the Virgin and Infant Jesus," by the Sirani, which is much admired; several other works of hers are in her na-tive city. "The Death of Abel" is in the Gallery of Turin; the "Charity," in the Sciarra Palace in Rome; "Cupids" and a picture of "Martha and Mary," in the Vienna Gallery; an "Infant Jesus" and a picture called "A Subject after Guido" are in the Hermitage at Petersburg. Her composition was graceful and refined, her draw-ing good, her color fresh and sweet, with a resemblance

WOMEN ARTISTS IN THE RENAISSANCE

THE INFANT CHRIST

6

Linda Butti “For Love of Roses”

cermic

María de Echevarría "Salem Woods #2",

oil on canvas, 18" x 36"

Marcia Bernstein “Lamentation” mixed media

ASCA GALLERY

T he ASCA ART GALLERY presents examples of art by ASCA members selected from the Gallery Al-bum. Please send photos of your recent work,

and if space permits, they may be included in upcoming editions of the Newsletter. Remember to include your name, the title of your work, the medium, and an 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

Estelle Levy Untitled 18x13”

Elaine Alibrandi "Awakening"

Oil, muscovite mica, milky quartz, basalt, greenschist, aluminum foil

18" x 32" x 3"

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Ester Berman “Evening ”

15x12

Basha Maryanska “Music of Silence” Acrylic on Board

Janet Indick “Shtetyl3”

Bonnie Rothchild “Retraction”

Rose Sigal-Ibsen “Bamboo”

Roberta Millman-Ide “This World of Mine”

oil, sand & crystal 20x20

8

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

ASCA NEWSLETTER Publication Director Hank Rondina

CONTRIBUTING WRITERS

Maurice Taplinger, Gallery and Studio Magazine, Santina Semadar Panetta, Hank Rondina

CONTRIBUTING PHOTOGRAPHERS

Hank Rondina,

COPY DEADLINE FOR THE NEXT ISSUE DECEMBER 15, 2013 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 ©2013 by ASCA

MEMBERSHIP NEWS

Elaine Alibrandi— Exhibiting in "Stories We Tell" The Phoenix Gallery, 210 Eleventh Ave., NYC Sept. 4-28, 2013–ALSO–"Compass: Navigating the Journey to Self-Identity"Orange County Center for Contemporary Art, 117 N Sycamore St., Santa Ana, CA Oct. 5-Nov. 16, 2013–ALSO–""Passages" Ateneo de Madrid, Prado Rooms, Calle Prado, 21, Madrid, Spain Oct. 15-30, 2013–ALSO–"The Music Within" Blue Line Arts, Roseville, CA Oct. 17-Nov. 7, 2013

Georgiana Cray Bart— and Her Students: Studio Views, drawings and paintings by Georgiana and stu-dents, 8 to adult, June 14 to July 11, 2013, Schulman Gallery, Luzerne County Community College, Mon.-Fri., 9:00 a.m.-5:00 p.m.,

Marcia Bernstein— Exhibited in "It is For Peace - Two Artist Show" at the Missing Peace Art Space, associated with the International Peace Museum, Day-ton OH. May 3, 2013 - June 10, 2013.–ALSO–"Home & Habitat", Riverside Library, NYC. Aug 2-Aug 27. –ALSO– "Flights of Fancy", Taller Boricua Gallery, NYC, Sept 20-Oct 9

Linda Butti—.."For the Love of Roses " (ceramic)

featured in the SI Advance newspaper in a show at the Lab, Snug Harbor Cultural Center (See gallery) María de Echevarría—Solo show "Impressions from Nature" at The Interchurch Center-Treasure Room Gal-lery. 475 Riverside Drive (at 120th Street), New York, NY 10115. Oct.17 - Nov. 22, 2013. Reception: Thurs-day Oct. 24, 5-7:30 PM hours: 9-5 PM, Mon-Fri. More info. 212-870-2200. (See gallery)

Harriet FeBland—The DVD "Harriet FeBland" filmed for TV in 1983 by the Agnes K. Haverly Foundation has been selected be the New Museum archives and will be released under their authority public viewing the Inter-net. To view the early film made for TV bythe Agnes K. Haverly Foundation in 1983 titled "Harriet FeBland" and now sponsored by museum in their archives Google: Museum.org and go toarchive.org/details/xfr-2013-09-08-1B-05–ALSO–Three works have been jury selected for the exhibit "Lots of little Art “Art Link GalleryIndiana18-Dec 4, 2013–ALSO–International works, Lessedra Gal-lery, Bulgaria will exhibit 22013- Jan 2014–ALSO–National Assoc. of Women Artists (NAWA) 124 Annual exhibit Sylvia Wald and Po Kim Gallery NYC27-Sept 28,

2013–ALSO–selected to be included in NAWA's 125 An-niversary at the Morris Museum in Morristown N.J.20 - July 21, 2014.A select group of artists were chosen for this show by the Curator Jeffrey Weschler. Basha Maryanska—Exhibited at New Century Artists Gallery, 530 W. 25th St., NYC., "Up-Surd," June 4 – 22nd —ALSO— The Gallery of the American University of Par-is, October 3 – 21, 2013—ALSO— Broadway Gallery 473 Broadway NYC., Sept.24 – Oct.10, 2013—ALSO— New Century Artists Gallery, "Tune Tone," Oct. 8 - 27, 2013—ALSO— The Howland Cultural Center, 477 Main St., Beacon, NY, "Three at the Center" Oct.13 – 27—ALSO— Gallery East 115 – 117 East Church St., Frederick, MD, Sept 4 – Oct 5, 2013

Neva Setlow— NAWA exhibition at Goggle Works in Reading PA June 28-July 21,2013

Lea Weinberg-Exhibiting at the National Association of Women Artists “124

th Annual Member’s Exhibition” at the

Sylvia Wald and Po Kim Art Gallery, 417 Lafayette St. NYC, NY from Aug. 27- Sep.28, 2013—ALSO— “Thank you Volunteers- Special Exhibition” at N.A.W.A. Gallery, 80 Fifth Avenue, Suite 1405, New York, NY from Septem-ber 4 -25, 2013 /—ALSO— “Divine Intersection: Religious Crossroads” at Iona College- Brother Kenneth Chapman Gallery, 715 North Ave. New Rochelle, NY from Sep. 8 until Oct. 17, 2013 /—ALSO— Image from installation: “the Story of Clothing Sorter” was selected to be included in catalog for the NWCA exhibition: “Stories we tell” and will also be shown on NWCA website.

ASCA’s 96th Annual Exhibition- “Diverse Impressions”

The High Line Loft 526 West 26

th St.

(Chelsea) N.Y. 10001 5D EXHIBITION DATES Nov.5, 2013-Nov.17, 2013

RECEPTION:Sat., Nov. 9, 2013 2:00-4:30PM