american society of contemporary artists

NUMBER 45 AN ECLECTIC AESTHETIC COMES TO CHELSEA

By Maureen Flynn Gallery and Studio, Nov.-Dec. 2011/Jan.2012

WINTER 2011-2012 2012 ASCA MEMBER BOOK

By Harriet FeBland

Founded in 1917 as the Brooklyn Society of Artists, today The American Society of Contemporary Artists boasts approximately one hundred members. Ranging from representational to abstraction, the group includes a wide enough variety of styles to justify the title of its 94th Annual Exhibition, "Eclectic Aesthetic 2011." One of the more familiar artists on view who covers both ends of the stylistic spectrum Is Rose Sigal Ibsen, who is made a considerable reputation in the New York art scene and abroad for her works in watercolor and Asian ink painting. Although born in Romania, Ibsen has won the admiration of many contemporary masters of Chinese painting, including C. C. Wang for her graceful brushwork and compositions, which range from traditional Asian floral subjects to abstract compositions that bridge the gap between Eastern and Western painting. Here, she is represented by an untitled work in Japanese Sumie ink combining a muscularly knotted central form with sinuous calligraphic lines. Born in Argentina, now dividing her time between New York and New Mexico Marie de Echevarria is another artist who moves easily between figurative and abstract modes of expression. Seen here is one of her nonobjective compositions inspired by classical music, "Debussy, La Mer, #1," capturing the mood of the great composer's music with rolling gestural strokes in sonorous blue tones. Anita Adelman also makes a strong showing with "A Sea of Color," in which vibrant pink, purple, and green reflections on a body of water project and almost fluorescent chromatic intensity. Aleman's painting is also compelling for its spiritual ambiguity, with the color areas alternately hugging the picture plane In the Manner of a Color Field abstraction and appearing to recede in space, assuming a more representational sense of perspective. Less ambiguous, on the other hand is Elaine Alibrandi's work in oil and mixed media on canvas "Screams," in which the brilliant red forms float as emblematic lay as the diamonds on a deck of playing cards in shallow space, set against a softly modulated, subtly variegated purple and blue background. In this work, as the title indicates, the strident forms represent sounds,
(See ASCA page 2)

Dear ASCA Member, In 2012 our organization will again be publishing a book featuring each member artists work. I last publication was produced in 2005 and has been accepted and placed in various libraries around the country including libraries at the Metropolitan Museum, the Whitney Museum, the 42nd St. library and numerous other institutions. I will committee had its first meeting and will shortly be going ahead with the difficult job of creating a newest addition. We hope the work will be included in this important publication which is used by ASCA to obtain new shows and will be distributed to museums libraries and galleries around the country. Our preliminary investigations find estimates for this publication are considerably more than in 2005, therefore to be included each member will contribute a fee of $135 toward part of the costs, ASCA will pay the rest. Each artist will have a single page with a color photo of one work in a brief statement. Artists will also receive five books that can be shown at your solo exhibitions and given out to collectors. We believe being represented in the book is superior advertising and last four years for each individual and it is important not to be left out. We now look forward to your participation and ask you to choose one single work in color (a printed reproduction on the page) and on a separate printed sheet include your name in a statement of outdoor hundred and 25 words. It can be a resume or whatever you believe important information about your work or career, etc. Our book designer will then design your page. Kindly check your spelling and proofreading. 1. If you plan to be included in form Harriet FeBland as soon as possible. WRITE TO: Harriet FeBland, Book Editor, 245 E. 63rd St. (1803), New York, NY 10065. 2. SEND CHECK: (marked Book Fee) by February 1st to: Barbara Schiller, President, 3600 Curry St., Yorktown Heights, NY 10598 2206 3. SEND YOUR "PAGE" MATERIAL (snail mail) by February 1st or before to: Harriet FeBland, Book Editor, 245 E. 63rd St. (1803), New York, NY 10065 Harriet FeBland, President Emeritus ASCA

(ASCA Continued from page 1)

but in a much more strident way than in the melodic tones of the aforementioned painting by Marie de Echevarria. Hank Rondina, whose acrylic "Monk's Dream" is also inspired by sound, particularly is made by the piano of Thelonious Monk. His composition, which conveys the freedom of Paul Klee, is based on hues that correspond to the musical notes in a jazz progression. Miriam Wills is a painted with abstract compositions and mixed media are invariably jam-packed with bold, baroque shapes that fill the picture space with a sense of barely contained energy. In a painting "Red Sanctuary," as in all of her work, Wills employs brilliant primaries along with equally strong secondary hues, adding thick outlines to enhance the rhythmic force of her curvaceously sensual forms. By contrast, in the tradition of Abstract Expressionism, Leanne T. Martinson's compositions, such as her "Wind Holding #1," are driven by gesture. Like those of Joan Mitchell, Martinson's surfaces are at once lyrical and sumptuous, channeling the fortunes of nature with swift, graceful strokes, buoyant forms, and an ebullient pallet of light-filled hues. Gil Passerella takes a more representational approach to nature in his expansive landscape vista, its sensitive strokes, and softly diffused forms reminiscent of Impressionism, albeit from a decidedly contemporary perspective. Passarella is an exceptional colorist with an ability to create luminous effects with a seemingly effortless panache that makes it landscapes refreshingly poetic experiences for the viewer, reminding us that there are certain eternal verities, which will never go out of style. Then there is Janet Indick, who handily merges painting and sculpture in her freestanding work in wood, stainless steel, and paint, "I'm Wishing." This totemic piece, like other works one has seen over the seasons by Indick, command space with impressive ease, it is swirling organic shapes in red and ocher within a semigeometric format giving a new dimension to both of the art forms which it unites. Three other artists in the exhibition work in more traditional sculptural medians and share a fondness for smoothly generalized biomorphic forms: Raymond Weinstein makes a stately statement about feminine grace in "Rhapsody," a standing figure in painted limestone of the woman raising one on to her head and resting the other on her torso, its contours flowing and curving with sinuous grace. Bonnie Rothchild takes abstract form as far as it can possibly go well still evoking a ballerina with arms raised above her head like a living arabesque exquisitely refined abstract. And Isabel Shaw's bronze "Pollyanna" partakes of imaginative anatomical distortion in her armless bronze female figure with a serenely smiling face atop an elongated neck that curves serpentinely. By contrast, Ilse Kahane takes a straightforward yet strongly simplified approach to the figure in her painted

terra-cotta sculpture of a kneeling Asian woman, her eyes calmly closed, and her countenance suggesting reverence rather than abject submission. Like a Botero made in three dimensions, Hortense Kassoy gives us a new view of the Goddess of Love in the full figured volumes of her bronze, "Aphrodite." Finally, massive items are suggested on a relatively intimate scale in Ray Shanfeld's sculpture "Momentum," with its adamantly abstract forms projecting a monumental presence without making overt reference to the figure or any other recognizable subject. Also including works by Gerda Rose, Olivia Koopalethes, Elvira Dimitrij, Georgina Cray Bart, Harriet FeBland, Doris Wyman, and several other names familiar to frequent gallery goers which were, unfortunately, on available for review at deadline time, this annual delivered on the promise of its name, presenting and engagingly at collecting survey of present ASCA members.

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

THE ART OF SPIRITUAL HARMONY: WASSILY KANDINSKY

"The Art of Spiritual Harmony" was published in 1914 and translated by M.T. H. Sadleir three years after the publication of "Concerning the Spiritual in Art." Although similar in content, it appears that this might be the fourth German edition which was planned to appear in 1914. The book was published in London by Constable and Company Ltd. As you read through these passages you will note the comments of M.T. H. Sadleir. This book can be downloaded in PDF format from www. archive.org/ details/artofspiritualha00kandrich

posal duration of time; while painting can present to the spectator the whole content of its message at one moment. Music, which is outwardly unfettered by nature, needs no definite form for its expression. Painting to-day is almost exclusively concerned with the reprodu6iion of natural forms and phenomena. Her business is now to test her strength and methods, to know herself as music has done
1 These statements of difference are, of course, relative; for music can on occasions dispense with extension of time, and painting make use of it. 2 How miserably music fails when attempting to express material appearances is proved by the affected absurdity of program music. Quite lately such experiments have been made. The imitation in sound of croaking frogs, of farmyard noises, of household duties, makes an excellent music hall turn and is amusing enough. But in serious music such attempts are merely warnings against any imitation of nature. Nature has her own language, and a powerful one; this language cannot be imitated. The sound of a farmyard in music is never successfully reproduced, and is unnecessary waste of time. The "imitation" of nature can be imparted by every art, not, however, by imitation, but by the artistic divination of its inner spirit.

THE PYRAMID

ND so at different points along the road are the different arts, saying what they are best able to say, and in the language which is peculiarly their own. Despite, or perhaps thanks to, the differences between them, there has never been a time when the arts approached each other more nearly than they do to-day, in this later phase of spiritual development. In each manifestation is the seed of a striving towards the abstract, the non-material. Consciously or unconsciously, they are obeying Socrates' commandKnow thy self. Consciously or unconsciously, artists are studying and proving their material, setting in the balance the spiritual value of those elements, with which it is their several privilege to work. And the natural result of this striving is that the various arts are drawing together. They are finding in Music the best teacher. With few exceptions, music has been for some centuries the art that has devoted itself not to the reproduction of natural phenomena, but rather to the expression of the artist's soul, in musical sound. A painter, who finds no satisfaction in mere representation, however artistic, in his longing to express his inner life, cannot but envy the ease with which music, the most non-material of the arts to-day, achieves this end. He naturally seeks to apply the methods of music to his own art. And from this results that modern desire for rhythm in painting, for mathematical, abstract: construction, for repeated notes of color, for setting color in motion. This borrowing of method by one art from another can only be truly successful when the application of the borrowed methods is not superficial but fundamental. One art must learn first how another uses its methods, so that the methods may afterwards be applied to the borrower's art from the beginning, and suitably. The artist must not

for a long time, and then to use her powers to a truly artistic end. And so the arts are encroaching one upon another, and from a proper use of this encroachment will rise the art that is truly monumental. Every man who steeps himself in the spiritual possibilities of his art is a valuable helper in the building of the spiritual pyramid, which will someday reach to heaven. V. THE PSYCHOLOGICAL WORKING OF COLOUR To let the eye stray over a palette, splashed with many colors, produces a dual result. In the first place, one receives a purely physical impression one of pleasure and contentment at the varied and beautiful colors. The eye is warmed or else soothed and cooled. But these physical sensations can only be of short duration. They are merely superficial and leave no lasting impression, for the soul is unaffected. But although the effect of the colors is forgotten when the eye is turned away, the superficial impression of varied color may be the starting point of a whole chain of related sensations. On the average man only the impressions caused by very familiar objects, will be purely superficial. A first en
(See Kandinsky, page 4)

forget that in him lies the power of true application of every method, but that that power must be developed. In manipulation of form, music can achieve results, which are beyond the reach of painting. On the other hand, painting is ahead of music in several particulars. Music, for example, has at its dis-

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

(Kandinsky, continued from page 3)

\counter with any new phenomenon exercises immediately an impression on the soul. This is the experience of the child discovering the world, to whom every object is new. He sees a light, wishes to take hold of it, burns his finger, and feels henceforward a proper respect for flame. But later he learns that light has a friendly as well as an unfriendly side, that it drives away the darkness, makes the day longer, and is essential to warmth, cooking, and play. From the mass of these discoveries is composed a knowledge of light, which is indelibly fixed in his mind. The strong, intensive interest disappears and the various properties of flame are balanced against each other. In this way, the whole world becomes gradually disenchanted. It is realized that trees give shade, that horses run fast and motorcars still faster, that dogs bite, that the figure seen in a mirror is not a real human being. As the man develops, the circle of these experiences caused by different beings and objects grows ever wider. They acquire an inner meaning and eventually a spiritual harmony. It is the same with color, which makes only a momentary and superficial impression on a soul but slightly developed in sensitiveness. But even this superficial impression varies in quality. The eye is strongly attracted by light, clear colors, and still more strongly attracted by those colors which are warm as well as clear vermilion has the charm of flame, which has always attracted human beings. Keen lemon-yellow hurts the eye in time as a prolonged and shrill trumpet-note the ear, and the gazer turns away to seek relief in blue or green. But to a more sensitive soul, the effect of colors is deeper and intensely moving. And so we come to the second main result of looking at colors: their psychic effect. They produce a corresponding spiritual vibration, and it is only as a step towards this spiritual vibration that the elementary physical impression is of importance. Whether the psychic effect of color is a direct one, as these last few lines imply, or whether it is the outcome of association, is perhaps open to question. The soul being one with the body, the former may well experience a psychic shock, caused by association acting on the latter. But to a more sensitive soul, the effect of colors is deeper and intensely moving. And so we come to the second main result of looking at colors: their psychic effect. They produce a corresponding spiritual vibration, and it is only as a step towards this spiritual vibration that the elementary physical impression is of importance. Whether the psychic effect of color is a direct one, as these last few lines imply, or whether it is the outcome of association, is perhaps open to question. The soul being one with the body, the former may well experience a psychic shock, caused by association acting on the latter. For example, red may cause a sensation analogous to that caused by flame, because red is the color of flame. A warm red will prove exciting; another shade of red will cause pain or disgust through association with running blood. In these cases, color awakens a corresponding

physical sensation, which undoubtedly works upon the soul. If this were always the case, it would be easy to define by association the effects of color upon other senses than that of sight. One might say that keen yellow looks sour, because it recalls the taste of a lemon. But such definitions are not universally possible. There are many examples of color working which refuse to be so classified. A Dresden doctor relates of one of his patients, whom he designates as an "exceptionally sensitive person," that he could not eat a certain sauce without tasting ''blue," i.e., without experiencing a feeling of seeing a blue color. It would be possible to suggest, by way of explanation of this, that in highly sensitive people, the way to the soul is so direct and the soul itself so impressionable, that any impression of taste communicates itself immediately to the soul, and thence to the other organs of sense (in this case, the eyes). This would imply an echo or reverberation, such as occurs sometimes in musical instruments, which, without being touched, sound in harmony with some other instrument struck at the moment. But not only with taste has sight been known to work in harmony. Many colors have been described as rough or sticky, others as smooth and uniform, so that one
^ Dr. Freudenberg. Spaltung der Personlichkeit (Ubersinnliche Welt. 1908. No. 2, p. 64-65). The author also discusses the hearing of color, and says that here also no rules can be laid down. But cf. L. SabanejefF in " Musik," Moskow. 191 1. No. 9, where the imminent possibility of laying down a law is clearly hinted at.

feels inclined to stroke them {e.g., dark ultramarine, chromoxyde green and rose madder). Equally, the distinction between warm and cold colors belongs to this connection. Some colors appear soft (rose madder), others hard (cobalt green, blue-green oxide), so that even fresh from the tube they seem to be dry. The expression "scented colors" is frequently met with. And finally, the sound of colors is so definite that it would be hard to find anyone who would try to express bright yellow in the bass notes, or dark lake in the treble. The explanation by association will not suffice us in many, and the most important cases. Those who have heard of chromo therapy will know that colored light can exercise very definite
^ Much theory and pra6tice have been devoted to this question. People have sought to paint in counterpoint. Also unmusical children have been successfully helped to play the piano by quoting a parallel in color {e.g., of flowers). On these lines Frau A. Sacharjin-Unkowsky has worked for several years and has evolved a method of " so describing sounds by natural colors, and colors by natural sounds, that color could be heard and sound seen." The system has proved successful for several years in both the inventor's school and the Conservatoire at St. Petersburg. Finally Scriabin, on more spiritual lines, has paralleled sounds and colors in a chart not unlike that of Frau Unkowsky. In " Prometheus'* he has given convincing proof of his theories. (His chart appeared in " Musik," Moskow, 191 1, No. 9.) ' The converse question, i.e. the color of sound, was touched upon by Mallarme and systematized by his disciple Ren6 Ghil, whose book, "Traite du Verbe," gives the rules for " I'instrumentation verbale." (Next page)

 M. T. H. S.

influences on the whole body. Attempts have been made with different colors in the treatment of various nervous ailments. They have shown that red light stimulates and excites the heart, while blue light can cause temporary paralysis. But when the experiments come to be tried on animals and even plants, the association theory falls to the ground. So one is bound to admit that the question is at present unexplored, but that color can exercise enormous influence over the body as a physical organism. No more sufficient, in the psychic sphere, is the theory of association. Generally speaking, color is a power, which directly influences the soul. Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul. It is evident therefore that color harmony must rest only on a corresponding vibration in the human soul and this is one of the guiding principles of the inner need}
^ The phrase "inner need" (inner Notwendigkeit) means primarily the impulse felt by the artist for spiritual expression. Kandinsky is apt, however, to use the phrase sometimes to mean not only the hunger for spiritual expression, but also the dual expression itself.M. T. H. S.

^ Cf. Paul Signac, " D 'Eugene Delacroix au Neo-Impressionisme. ** Paris. Floury, 2 frs. Also compare an interesting article by K. Schettler :" Notizen ilber die Farbe." ("Decorative Kunst," 1901, February). ^ By " Komposition " Kandinsky here means, of course, an artistic creation. He is not referring to the arrangement of the objects in a piaure.M. T. H. S.:

THE LANGUAGE OF FORM AND COLOUR "The man that hath no music in himself, nor is not moved with concord of sweet sounds, Is fit for treasons, stratagems, and spoils; the motions of his spirit are dull as night, And his afFe6tions dark as Erebus: Let no such man be trusted. Mark the music." (^Merchant of Venice^ A6t v, Scene i.)

boundaries of some kind. A never-ending extent of red can only be seen in the mind ; when the word red is heard, the color is evoked without definite boundaries. If such are necessary, they have deliberately to be imagined. But such red, as is seen by the mind and not by the eye, exercises at once a definite and an indefinite impression on the soul, and produces spiritual harmony. I say "indefinite," because in itself, it has no suggestion of warmth or cold, such attributes having to be imagined for it afterwards, as modifications of the original "redness." I say "definite," because the spiritual harmony exists without any need for such subsequent attributes of warmth or cold. An analogous case is the sound of a trumpet which one hears when the word "trumpet" is pronounced. This sound is audible to the soul, without the distinctive character of a trumpet heard in the open air or in a room, played alone or with other instruments, in the hands of a position, a huntsman, a soldier, or a professional musician. But when red is presented in a material form (as in painting) it must possess (i) some definite shade of the
Cf. A. Wallace Rimington. Colour music (op, cit,) where experiments are recounted with a color organ, which gives symphonies of rapidly changing color without boundariesexcept the unavoidable ones of the white curtain on which the colors are reflected.M. T. H. S.

usical sound acts directly on the soul and finds an echo there because, though to varying extents, music is innate in man.
^ Cf. E. Jacques-Dalcroze in " The Eurhythmies of Jacques-Dalcroze." London, Constable, is. net.M. T. H. S.

Everyone knows that yellow, orange, and red suggest ideas of joy and plenty " (Delacroix) These two quotations show the deep relationship between the arts, and especially between music and painting. Goethe said that painting must count this relationship her main foundation, and by this prophetic remark, he seems to foretell the position in which painting is to-day. She stands, in fa6t, at the first stage of the road by which she will, according to her own possibilities, make art an abstraction of thought and arrive finally at purely artistic composition. Painting has two weapons at her disposal 1. Color. 2. Form. Form can stand alone as representing an object (either real or otherwise) or as a purely abstract limit to a space or a surface. Colour cannot stand alone; it cannot dispense with

many shades of red that exist and (2) a limited surface, divided off from the other colors, which are undoubtedly there. The first of these conditions (the subjective) is afFe6led by the second (the obje6tive), for the neighboring colors affect the shade of red. This essential connection between color and form brings us to the question of the influences of form on color. Form alone, even though totally abstract and geometrical, has a power of inner suggestion. A triangle (without the accessory consideration of its being acute, obtuse-angled, or equilateral) has a spiritual value of its own. In connection with other forms, this value may be somewhat modified, but remains in quality the same. The case is similar with a circle, a square, or any conceivable geometrical figure. As above, with the red, we have here a subjective substance in an objective shell. The mutual influence of form and color now becomes clear. A yellow triangle, a blue circle, a green square, or a green triangle, a yellow circle, a blue squareall these are different and have different spiritual values.
^ The angle at which the triangle stands, and whether it is stationary or moving, are of importance to its spiritual value. This fad is specially worthy of the painter's consideration.

ASCA ANNUAL EXHIBIT 2011

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

ADOLPH GOTTLIEB
(Published in the catalogue for the exhibition The New Decade at the Whitney Museum in 1955) Painting Aims Adolph Gottlieb adopted the term Pictograph for my paintings out of a feeling of disdain for the accepted notions of what a painting should be. This was in 1941. I decided that to acquiesce in the prevailing conception of what constituted good painting meant the acceptance of an academic strait-jacket. It was therefore necessary for me to utterly repudiate so-called good painting in order to be free to express what was visually true for me. My Pictographs have been linked with totem-poles, Indian writing, psychoanalysis, neo-primitivism, private symbolism, etc., the implication being that my work is not quite what painting should be. This has never disturbed me because my aim has always been to project images that seem vital to me, never to make paintings that conform to the pattern of an external standard. Now in 1955 as in the early 40s and before, I am still concerned with the problem of projecting intangible and elusive images that seem to me to have meaning in terms of feeling. The important thing is to transfer the image to the canvas as it appears to me, without distortion. To modify the image would be to falsify it; therefore I must accept it as it is. My criterion is the integrity of the projection. I frequently hear the question What do these images mean? This is simply the wrong question. Visual images do not have to conform to either verbal thinking or optical facts. A better question would be Do these images convey any emotional truth This, of course, indicates my belief 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. That is why even to some pundits, my paintings seem cryptic. Thus when we are solemnly advised to consolidate our gains, to be humanists or to go back to nature, who listens seriously to this whistling in the dark? Painting values are not just black and white I prefer innocent impurity to doctrinaire purism, but I prefer the no-content of purism to the shoddy content of social realism. Paint quality is meaningless if it does not express quality of feeling. The idea that a painting is merely an arrangement of lines, colors and forms is boring. Subjective images do not have to have rational association, but the act of painting must be rational, objective and consciously disciplined. I consider myself a traditionalist, but I believe in the spirit of tradition, not in the restatement of restatements. I love all paintings that look the way I feel.

MEMBERSHIP NEWS
March 4th -April 1st , 2012 Betty Parker Gallery At the Carriage Barn Art Ctr Waverly Park, New Canaan, Connecticut Reception: Sunday, March 4, 2012 4 PM to 6 PM Elvira DimitrijExhibited at Fredericksburg Center for the Creative Arts, VA. "Focus on Color" ALSO Fredericksburg Center for the Creative Arts, VA "Texture and Pattern" ALSO Catherine Lorillard Wolfe National Art Club, Annual Open Exhibit ALSO at Fredericksburg Center for the Creative Arts, VA. "View Points." Olivia KoopalethesExhibited at the Geltman Gallery "Focus, New Jersey," first-place award Art Center of Northern New Jersey-ALSO-The Salmagundi Club, New York and received the Marquis Who's Who in American Art Reference Award 2011, Audubon Artists 69th Annual Exhibit-ALSO-122nd National Association of Women Artists, at the Sylvia Wald Po Kim gallery New York City. Rose Sigal Ibsen Exhibiting at the 13th Annual WAH Salon Art Club Show that will take place in Brooklyn (135 Broadway, Brooklyn, NY) from Jan.12th - Feb. 19th Margo MeadeExhibited at The Westside Arts Coalition "New Art for New Year," Broadway Mall Community Center, 96St. and Broadway Min MyarHas been granted Signature Membership In the National College Society, The highest distinction awarded to college artists who have been selected by juries for the Annual Juried Exhibit.
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 Harriet FeBland. Maureen Flynn, Gallery and Studio CONTRIBUTING PHOTOGRAPHERS Hank Rondina COPY DEADLINE FOR THE NEXT ISSUE MARCH 15, 2012 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 2012 by ASCA Permission is required to reprint any portion of this newsletter.

Pattern, Rhythm, and Cycles