YOU ARE CORDIALLY INVITED TO ATTEND ASCA’S 90TH ANNIVERSARY CELEBRATION TO BE HELD AT THE LAFAYETTE GRILL
54 Franklin Street—Between Broadway & Lafayette
New York City 10013—212 732-5600
On
Saturday, October 11, 2008—1 p.m. to 5 p.m.
RSVP by Tuesday, September 30, 2008
Non-Member guests are welcomed

ASCA’S 90TH ANNIVERSARY CELEBRATION

WILL BE HELD AT

LAFAYETTE GRILL
54 Franklin Street
(between Broadway & Lafayette)
New York City 10013
212 732 5600

on

Saturday, October 11, 2008—1 p.m. to 5 p.m.

MENU–$30.00 PER PERSON—CASH BAR—NO TIPPING

APPETIZERS
SOUP OR SALAD
+
CHOICE OF:

Grilled Salmon
Chicken Francaise
Seafood Pasta
Mousaka
+
Dessert & Coffee
Cheese Cake or Chocolate Mousse

FOR MTA TRAVEL INFORMATION: 718 330 1234 MONDAYS THRU FRIDAYS

CHECKS PAYABLE TO ASCA AND MAILED TO ESTELLE LEVY @
150 West 96th Street 14G * New York City 10025-6487
Menu Choices and checks due by Tuesday, September 30, 2008

Non-member guests  welcomed!

ASCA 90TH ANNIVERSARY RESPONSE FORM
Due by Tuesday, September 30, 2008

NAME:_________________________________________________________________
Number of Guests:___________________________________________________
CHECK AMOUNT:____________CHECK # ____     _  PAYABLE TO ASCA
CHECKS MAILED TO ESTELLE LEVY
-150 W. 96th Street 14G N.Y.C. 10025

List food choices:_______________/______________________/______________
List food choices:_______________/_____________________/_______________
List food choices:______________ /_____________________/_______________

Imelda was wise enough to show up at the general meeting with handouts of her work and a volunteer position as recording secretary. (I hope I am remembering this right)

Wecome Imelda and thank you for your service.

The following is from Imelda’s website a
http://imeldacajipeendaya.net/current

About the Artist

In my work I get engrossed with the joy of playing with color and texture, combining media and materials, and the passion for expressing a feeling or point-of-view. My process is very intuitive even as I deal with issues—human, cultural or political. Objects and images from home are all very personal, but I use them to evoke larger themes and ideas about being woman of my roots facing global issues.

Imelda Cajipe Endaya has made a strong presence in the Philippine and Asia Pacific art worlds. Moving in summer of 2005 to live and work in Orange County in New York, Imelda brought with her a vast experience as painter, printmaker and installation artist recognized for her distinct womanly visual language and statements. Her works are in the permanent collections of the Metropolitan Museum of Manila, Cultural Center of the Philippines, Philippine National Museum, Fukuoka Art Museum, Okinawa Art Museum, and the Singapore Art Museum.

Among her international exhibitions were the 9th Biennale of Sydney, the First Asia- Pacific Triennial of Contemporary Art in Brisbane, the Museum of Contemporary Art Tokyo, the Asia Society’s “Traditions/Tensions” at the Queens Museum NY, Grand Theatre d’Angers in France, and currently at the Centro Cultural del Conde Duque in Madrid.

She was co-founder and first president of KASIBULAN, a women artists’ collective in the Philippines. She also initiated the PANANAW Philippine Journal of Visual Arts, of which she was first editor. She was co-curator at the Second Asia Pacific Triennial of Contemporary Art at the Queensland Art Gallery. She curated the Creative Collective Center’s traveling exhibition “Who Owns Women’s Bodies,” which toured over a dozen destinations in the Philippines, Thailand and Japan. As an artist in residence at the Ecole Cantonale d’Art du Valais, she conducted an art workshop “Art for a Culture of Peace” in Sierre, Switzerland.

When asked why she had moved to New York, she says: “It’s great to have some change and adventure when one is over fifty. My children are all grown. I have part of family here. There are many opportunities for art in New York. Upstate New York is different from New York, New York, yet I can be in either. New York City has many of the most exciting multicultural events from all over the whole world—but it is also too fast and impersonal. Orange County is nestled in the highlands by the bank of the Hudson River; it is bucolic and beautiful, and its people warm. The community here is proud and supportive of their homegrown artists; I really admire that. Yet I have gained friends and acquaintances here who make me feel I am welcome, even as I continue to create in the direction I have committed to pursue.”

She held her first USA solo exhibition entitled DIGIWATA in March 2006 at the Philippine Center in New York City. Since her relocation, she has been exhibiting locally with the Orange County Art Federation, and the Arts Alliance of the Lower Hudson Valley. Five of her works were exhibited at “The Worth of A Woman,” A V-Day advocacy event against violence on women, held at the Sarabrae Women’s Art Gallery, and The Grail. Her works were included in the recent event “Feast of the Arts” organized by the Historical Society of Newburgh and the Highlands. Some of her pieces may be viewed as well at The Arts Upstairs Gallery in Phoenicia, NY, The Silent Space Gallery in Kingston, NY, and the “Aggregates” exhibit at Ceres Gallery in NYC.

The indomitable Harriet Fe Bland talked for two hours straight without a break. Flanked by the two Rays, (Weinstein and Shanfeld) Harriet bravely ran down every detail of our shortcomings and goings. Here are a few highlights:

We need a logo.
We have never had a logo. (I know I thought we did too) There will be a contest amongst the members to design a logo incorporating “ASCA”, “American Society of Contemporary Artists”, and “Founded in 1917″.

The winner will receive the honor of having their logo used in everything ASCA.

Do You Want To allow Photographers in to ASCA?
It was stated at the meeting by some forward thinking individual that they are actually allowing photographers in to Museums nowadays. Gasps from the crowd. Do you want them in our shows. What next digital art? Are we going to hell in a handbasket or proudly marching in to the future? Talk amongst yourselves.

What Day Do You Want the next General Meeting On?
What time? No Holiday weekends please.

Your Name on an Award
For just three hundred dollars (Maybe 200) you too can have your name pop up on the internet as the name of an award given at our show. It’s a bargain at any price.

Grant Writers reveal yourself
Does anyone know how to write a grant? How about getting some money for ASCA so we can rent exhibition space.

The great $350 sale
Did you rake in the dough at the atrium? Here’s your chance to do it right. Get on the committee and arrange to have sellers at the three day event to sell your art for next to nothing.

See yourself on Television
Well this wasn’t actually discussed at he meeting because there wasn’t time. I brought in a tv and footage of the new ASCA film including an interview with Honey Kassoy. A few hardy souls who were still awake at the end of the meeting stayed to watch Honey and others share their inner thoughts on art, life, and whats good and bad about ASCA. there is still room for a couple of more artists on the first part of this extensive documentary film so call me Stephen Beveridge 212 928 8351. Btw My interviewer David Ferrando will be applying to ASCA so if you come across his stuff during your service on the admittance committee make sure you vote him in.

Elinore Bucholtz work will be featured in the following shows coming up now thru November ‘08:

6. Her group AVANTI in a second show of the season at Tompkins Square Park Library gallery called “New York Kaleidoscope” from May 4 - May 30. The show viewing hours will be Monday and Wednesday nights till 8pm and Saturdays. For questions call 212.228.4747.

8. Women In the Arts’ show at the Creative Center in Potsdam, NY. Tentative dates from Oct. 4 to Nov. 1.

9. Her solo show at Cornell Medical Center 201 E. 80th. St. (2nd. floor). It will be up from April 4 - July 15. Viewing takes place during usual office hours, M, T, TH,FR 9am - 5pm and on W from 9am - 7pm. This is a curator selected show featuring twelve pieces from 2004 - 2008.

10. The Educational Alliance annual exhibit from June 4 - June 25 open 9 - 6pm at their building at 197 E. Broadway. Reception will be June 4 from 6pm - 8pm. Each artist has one entry. Elinore’s will be a piece of abstract clay sculpture.

11. Art Gotham’s Square Foot Show at 192 Avenue of Americas showing from June 7 - July 12. Reception will be June 7 from 1 - 8pm. Each artist has one entry no larger than 12” x 12”.

12. ASL’s annual Red Dot show of first place winners from all groups hanging from May 19 - June 26. Reception June 3, Tuesday, from 5:30 - 7:30pm in the 2nd. floor gallery. Elinore will be showing GOLDEN RULE acrylic on canvas 48” x 60”.

13. ISE Cultural Foundation’s annual exhibition from July 11 - August 26 at 555 Broadway. Closing ceremony and awards occur on August 30. Each artist has one entry.

Why do you show your art? That’s one of the questions we are asking in our interviews for the ASCA film. We have gotten a few pretty standard replies and one person didn’t understand how we could ask that question. It was taken for granted and never thought about.

Is it an ego boost? An opportunity to make money? (with the noble cause of producing more art no doubt) Do we show to gain the respect and admiration of our peers? To boost our visibility and become famous? To share the inner truths we have discovered with our poor sightless companions. To awaken a sense of moral outrage. To motivate, comfort, shock, and challenge.

It seems to be divided two ways. Do I show for me or for the viewer? I have said in the past that showing my art is the next step in the creative process. I think thats bullshit now but I meant it then. I want to let the paintings fulfill their destiny. Let my children go out and see who they are in the context of the local coffee shop.

I’d hate to be seen as one who needs the support of their peers before knowing if it’s good or not. Damn it: it’s good, you just aren’t ready for it yet. You’re not at a place where you can understand, poor dears, someday maybe. I’ll die a martyr and the accumulation of my life’s work/folly will be stacked by the curb. A couple of smaller pieces hopefully scavenged by a passing painter with more visions than money. Then one day a century from now someone will find an old jpeg languishing on an ancient disc or in the hard drive of some professor of history and people will discover what was right under their noses the genius overlooked artist.

Why do I show my art?

I don’t know why.

Sure I still want to be famous but I’ll settle for enlightenment.

Sure I want lots of money (to make more art of course with maybe a large screen hdtv to watch pbs of course)

Yes I do want the respect and admiration of my peers, and at the same time I can’t stand them. “I wouldn’t want to belong to any club that would have me as a member.” Thanks Woody.

I was sent this the other day.

What is objective art?
Is creativity somehow related with meditation?

Objective art is just the opposite. The man has nothing to throw out, he is utterly empty, absolutely clean. Out of this silence, out of this emptiness arises love, compassion. And out of this silence arises a possibility for creativity. This silence, this love, this compassion - these are the qualities of meditation.

I did some research (wikipedia) and Osho is an interesting guy. Sometimes known as the sex guru or the rich mans guru. It seems he was a wee bit persecuted.

He has some interesting meditation methods where for ten minutes the person jumps up and down with their arms raised, shouting Hoo! each time they land on the flats of their feet. OSHO Mystic Rose, comprises three hours of laughing every day for the first week, three hours of weeping each day for the second, with the third week for silent meditation.

anyways…

What struck me most was that my latest art pieces looked divisive and hostile.
It looked like I threw up and now want you to look at it.

Here look.

I removed the pieces from entry in to the Now Here This exhibition and set out to create a meditative piece for the show. It’s not like me to make a piece like this. My friend said “I didn’t know you felt that way” and i don’t. I told him if I wrote about a serial killer it doesn’t mean I am one but still its out of character for me.

i do stuff like this;

or this

U.S. Copyright Office   ORPHAN WORKS

Orphan works are those copyrighted works whose owners are difficult or even impossible to find.
The U.S. Copyright Office has raised concerns regarding orphan works and the uncertainty surrounding the ownership of such works might needlessly discourage subsequent creators and users from incorporating such works in new creative efforts or making such works available to the public. On January 23, 2006, they issued a report regarding Orphan Works and a Congressional hearing on the new bill was held in February 2006 and was subsequently called back.
The following is an article from the Illustrators Partnership, written on March 14th, 2008 by Brad Holland and Cynthia Turner, regarding the proposed legislation:
Yesterday the House subcommittee on Intellectual Property held their first hearing on new Orphan Works legislation. Note the title: “Hearing on Promoting the Use of Orphan Works: Balancing the Interests of Copyright Owners and Users”
Balance, however doesn’t seem to be part of the Orphan Works juggernaut. Indeed, after this hearing, we can no longer assume that the U.S. Copyright Office is an advocate for protection of creators’ rights. they wrote on page 14 of their original Works Report:
“If our recommendation resolves users’ concerns in a satisfactory way, it will likely be a comprehensive solution to the orphan works situation.” (our emphasis)
But how can any copyright law be
“comprehensive” if it makes millions of copyrights, no matter how valuable, available to users, no matter how worthy, under a system that would introduce permanent uncertainty into the business lives of creators?
Private Sector RegistriesSince the last bill died in committee in 2006, the advocates of this legislation have promoted the creation of private commercial registries. On January 29, 2007, a lead attorney for the Copyright Office warned us that under their plan any work not registered with a private sector registry would be a potential orphan from the moment it was created.

This means you would not only have to register your published work, also:

∑ Every sketch or note on every page of every sketchbook;
∑ Every sketch you send to every client;
∑ Every photograph you take anywhere, anytime, including family photos, home videos, etc.;
∑ Every letter, email, etc., professional, personal or private.

This Would End Passive Copyright Protection:Under existing lawthe total creative output of any “creator” receives passive copyright protection from the moment you create it. This covers everything from the published work of professional artists to the unpublished diaries, letters and family photos of the average citizen.
But under the Orphan Works proposal, none of this material would be covered unless the creator took active steps to register and maintain coverage with a commercial registry. Failure to do so would “signal” to infringers that you have no interest in protecting the work.
The Registration Paradox:conceding that their proposals would make potential orphans of any unregistered works, the Copyright Office proposals would lead to a registration paradox: order to “protect” work from exposure to infringement, creators would have to expose it on a searchable registry. This would:

∑  Expose creative work to plagiarists and derivative abusers;
∑  Expose trade secrets and unused sketches to competitors;
∑ Expose unpublished and private correspondence to the public on the Orwellian premise that you must expose it to “protect” it.

Yet registries will not be able to monitor infringements nor enforce copyright compliance. Even after you’ve shelled out “protection money” to a commercial registry to register hundreds of thousands of works, you still won’t be protected. registry would do nothing more than give you a piece of paper. You would still have to monitor infringements - which can occur anytime anywhere in the world; embark on an uncertain quest to find the infringer, file a case in Federal court, then prove that the infringer has removed your name other identifying information from your work. Meanwhile all the infringer will have to do is say there was no such information on the work when he found it and assert an orphan works defense. This will be the end result of trying to “resolve the users’ concerns” at the expense of time-tested copyright law.
Coerced registration violates the spirit and letter of international copyright law and copyright-
related treaties. And because this bill would effectively eliminate the passive copyright protection afforded personal correspondence, family photos,
etc. it would tear one more slender thread of privacy protection from the fabric of fundamental rights we currently take for granted.
We urge Congress to carefully reconsider the unintended consequences of this radical copyright proposal

Brad Holland and Cynthia Turner,
illustrators’’ Partnership

via Hank Rondina

Nineteen ASCA artists will exhibit at Scott M. Stringer, Manhattan Borough President’s Gallery at 1 Centre St., 19th floor South, in New York, from April 1st to April 30th. The theme chosen is art influenced by music and the exhibit is entitled “I’ve Got Rhythm.”  This will be the second time ASCA has been invited to show at the prestigious headquarters, of the Manhattan Borough President.

On view will be a group of uniquely varied works representing a collection of musically inspired sculpture and paintings.  The exhibit will be our first show in celebration of our 90th year.

We invite all our members to a
CELEBRATION PARTY at the reception on
Wednesday,  April 2nd from 6:00 to 8:00 pm.

It will be your opportunity to meet our new members, get acquainted and meet old friends.

We look forward to seeing you all.

Please note: photo I.D. is necessary as it is a government administration building.

TRAVEL INFORMATION
Subway: 4, 5, 6 Brooklyn Bridge Station
2, 3,     Chambers Street Station
A, C,    Chambers Street Station

QUIET MOMENTS
BY
SUEYOSHI IWAMOTO

OPENING RECEPTION
WEDNESDAY,  JANUARY 9,  5:30 TO 7:30 PM

SHOW RUNS THROUGH  WEDNESDAY, JANUARY 30, 2008

HOURS: MONDAY -   FRIDAY 9:00AM - 7:00PM
SATURDAY 9:00 AM - 3:00 PM
CLOSED SUNDAY
RSVP TO BOB KEIBER 212 - 252-2065

AT: BERKELEY ART GALLERY
BERKELEY COLLEGE
3 EAST 43RD STREET
NEW YORK, NY 10017

More food for thought from the Winkleman forum.

A Seismic Shift