Summer Board Part 2

• So, you'd think the most interesting part of the Summer board meeting would be the ACTUAL board meeting. As I'm not on the board and not able to vote, there wasn't much to do on Sunday. The discussion portion was mostly Saturday. On Sunday, Board minutes from Winter and Board officer and committee reports were approved. The budget was approved. Thanks to some extra fundraising in Jennifer Colby's term the caucus is in a slightly better position than before. So I will list some things to consider that we can take part of:

• A new/renewing member drive: Dues are increasing next year HOWEVER, if you pay before the end of the year, you can renew/become a member at this year's price. If dues seem like a lot of money, please remember that other organizations dues are much higher (ex. CAA=$55-$175 depending on your income). Instead of going out to dinner and a movie, support women in the arts!
• Institutional/Lifetime Membership drive: We have a lot of museums, art schools, and arts organizations in the city. We could be connecting with them more. We could also connect with the new Arts and Culture Office somehow.
• Lifetime Achievement Awards: Fundraising for the awards needs to be done. It is $90 for members to attend the dinner (the award ceremony is free!), $1100 for a table of 8 + catalogs, $2500 for a table, catalogs, and 1/2 page ad, $5000 for a table, catalogs, and full page ad. Ads alone are $550 for 1/2 page, and $1100 for a full page. National has suggested the possibility that chapters or regions pool money for a 1/2 or full page ad in the catalog. In our region (NE) there are 5 chapters, so each chapter could contribute $110... thinking out loud. The LAA is one of the most important things the WCA does every year. Take a look at our mural on 23rd ST under JFK and take a look at all the names up there. Each of those women made an important contribution to the Arts. The LAA could gain a lot more visibility with corporate sponsorship.
• Fundraising/New Media Opportunity: C.M Judge of the Central Mass chapter is part of Femlink www.femlink.org (link is down at time of publishing this post) and she has offered chapters an opportunity to fundraise using a DVD video collage of international women filmmakers work. They will provide the DVD for free, and we only need to find a space and date to screen it (need DVD player, projector, and screen). She recommends charging a small cover charge, and keeping half of the money raised for the chapter, and half donating to National. I've already asked her to mail the DVD to me!
• LA Conference: this will be held Sat, Feb 28th- Monday March 2nd. There will be openings/bus tours on Friday evening, Feb 27th, Chapters' Council/FAP panels/LAA awards on Saturday the 28th, Chapters' Council/WCA activities on Sunday MArch 1, and the winter board meeting on Monday the 2nd. National would like an estimate on how many people are planning to go, so please email president@nationalwca.org if you plan on going. Our Fringe Festival First Friday Bake Sale has been a fundraiser in the past to help send a rep to the conference, so we will decide details at the August meeting.

So those are the important things. There is a feeling of change in the air....... a desire to update the mission of the caucus......an understanding of the need to connect with a younger generation... concerns for the economic success of members and the organization in current times... a hope that members within chapters and chapters within regions and regions within national will find more ways to connect and interact with each other and the world at large.

It is exciting and interesting to see how the Caucus works on a National Level and to get connected to other empowered women across the country. I hope more members will get involved!

Respectfully,

Marie

Summer Board Meeting recap

This past weekend was the National Summer Board meeting held in Washington DC, presided over by our new president (and chapter member!) Marilyn Hayes. Although we are not board members, Kathy Dobash and I went down to represent the chapter and find out what is going on at the National Level.
It turned out to be a good idea- Kathy became the unofficial photographer of the event (see some of her photos in a post below), and I helped out recording minutes and giving voice for a younger generation of members (ha! at 30 I was by far the youngest person in the room). In this photo Marsha Heck of St Louis chapter and I are capturing statements from a group brainstorming activity.
The weekend started off with some museum and gallery hopping. We joined the tour at the NAtional Museum of Women in the Arts, a first-rate museum with both a permanent collection and changing exhibits. Their collection includes work by women throughout history not constrained geographically to the US, although much of the 20th century artwork was by US artists. It's truly impressive to see the strength of women's art throughout the ages, and to know that every piece you see was created by a women (contrast that to going through the PMA on Tuesday this week and searching for Women's names- O'Keefe and Cassat are our major representatives there). The evening was spent at the Arlington Arts Center for the closing reception and panel discussion for "She's So Articulate", an exhibition of Black Women Artists curated to be a response to the work of Kara Walker. If you don't know KAra Walker, google her to get the frame of reference. The curator, while a collector of Walker's work, also wanted to show the great range and strength of work by Black women artists. One comment that Maya Asante made during the presentation really stuck with me- that in school she was praised while she was making afro-centric art, but when she moved away from it and started making more formally abstract work, her instructors questioned its validity. For more info: http://www.arlingtonartscenter.org/exhibitions.htm The evening finished out at Marilyn Hayes' home, where the DC chapter hosted a potluck dinner and slide share, perfect for allowing everyone to get to know each other and/or catch up with old acquaintances.
Saturday Board Meeting Lead-up
On Saturday, Marilyn arranged for a facilitator to lead us through exercises to help us understand the past, identify issues in the present, and dream for the future of WCA.
It helped a great deal to define how the organization has and is changing. Some of the external trends that are effecting the WCA are: downward economics, increased concern for the environment, change in technology for disseminating information, lack of art education in public schools, need for non-profits to work with communities, continued lack of equity for women (ex: more women have teaching positions in universities, but most of those positions are temporary adjunct), move toward making more global networks, etc. We also defined the aspects of WCA that we are proud of and regret:

• Prouds: we honor women in the arts at all career stages, we are committed to each other in a support network, we are inclusive, we are an NGO of the UN, we empower women in the arts, we train women for leadership as well as improve their professional skills, etc.
• Sorries: lack of diversity, lack of visibility/presence, lack of fundraising, lack of follow-through, lack of communication

In the afternoon we moved on to more concrete issues currently impacting the WCA:

• Our Mission Statement: "to expand opportunities and recognition for women in the arts". A resounding majority felt that the mission reflected the founder's desire for "a place at the table" (wanting women artists to get into museums, galleries, art history books, and tenured professor positions). Whereas, current membership would like to reflect our desire to be positive agents for social change in our communities. We need stronger language. President-elect JAnice Nesser-Chu is spearheading a committee to update the mission statement. Once their work is complete, National will be able to do new PR statements and materials.
• The change in CAA's conference schedule: CAA has switched to a 3 year schedule passing between LA('09,'12), Chicago('10,'13), and NYC('11,'14). The question is, does WCA follow the schedule for our conference and Lifetime Achievement awards, or do we break away? PROS: staying with CAA provides greater visibility for the LAA, we are given one session of CAA for WCA content, the Feminist Art Project is providing a great deal of feminist content and as founding members of FAP we can collaborate. CONS:the 3 cities are expensive making it more difficult for people to stay extended periods to attend a WCA conference after CAA, chapters in the 3 cities will get burned out, no chapter in NYC, only going to 3 cities means we don't get to experience other vibrant arts areas and meet other chapters. Possibilities: Stick with CAA for winter board meeting, and develop regional conferences for the summer board meeting?

More in another post!

Art in City Hall

ATTENTION ARTISTS: Art In City Hall is looking for environmentally conscious artwork for its next exhibition, The Green Exhibit. Due Sept. 12.



THE GREEN EXHIBIT

Exhibition Dates: October 13—January 23, 2009
2nd and 4th Floor, NE corner

Reception Date: Thurs., October 23rd, 5-7pm (TENTATIVE)

Submissions must be received by
September 12, 2008


Art In City Hall issues a call to Philadelphia area artists for the fall exhibition in the historic public corridors of City Hall.

Curator: Art In City Hall Exhibitions Committee.

Theme: Artists are invited to submit artwork for "The Green Exhibit," an exhibition based on the environment. Artists are encouraged to explore issues related to the environment, including energy conservation, global warming, recycling, etc. and/or use materials that reflect notions of "Green," such as found objects and recycled/bio-degradable materials.

Media
Open to all artists in all media. Artwork must comply with the dimensions of the display cases, which are 84" H x 94" W x 24"D.
Rules for Entry

1. Deadline for submission: Received by Friday, Sept 12, 2008. You can submit up to four images in the form of digitals, slides or reproductions from originals. No entry fee.
2. Digitals are our first preference. Please submit jpegs for PC on a CD, and not Mac based files. Each image should be no larger than 1MB.
3. Slides must be clearly labeled with the artist's name, title, date, medium, size and arrow to indicate the top of the image, and numbered 1 through 4 to correspond to the entry form. No glass mounts. Slides which are not submitted in this format will be returned.
4. Reproductions must be labeled with same information as slides above, on the back.
5. Return the completed entry form with your submission of digitals, slides or reproductions. Include a resume and a S.A.S.E if you wish to have your work returned to you. Accepted artists will be asked to submit an artist's statement (in digital format if available via email).

Eligibility & Selection of Artists

Open to emerging and professional artists living or working in the Philadelphia area, including graduate students. Artists will be selected by an independent panel of arts professionals.

Selection and Installation of Exhibition

Accepted artists will be notified by phone or email no later than two weeks before opening. Due to the volume of participants, if you are not notified two weeks before the show, your work was then not accepted. You can call to verify submission status. All work must be ready for installation (i.e., hooks, wires, etc). Artists are responsible for assisting with installation of works which require special attention or extensive demands of time. The city and/or curators reserve the right to change the content of the exhibition, including the removal of artwork.

Delivery and Return of Work

The time of delivery and installation of artwork will be arranged with each participating artist after notification of acceptance.


Sale of Work

Art may be for sale, Art in City Hall does not take commission. Sales are between artists and interested party.

Liability

Artwork will be insured once installed in the display cases in City Hall.

(See attached file: GREEN CALL.pdf)
**********************************************************
Tu Huynh, Art In City Hall Program
City of Philadelphia, Department of Public Property
701, City Hall
Philadelphia, PA 19107
Phone: 215-686-9912
Fax: 215-686-4520

Photos from WCA Board Meeting in DC

Member News: Jennifer Judelsohn, Bonnie MacAllister, & Michelle Wilson

Cari amici,
verrà inaugurata tra pochi giorni a Viareggio la rassegna LUOGHI DELL'UTOPIA (programma e locandina in allegato), all'interno della quale è ospitato il progetto collettivo di libri d'artista La Biblioteca Utopica da me curato. Se avete la possibilità di passare da Viareggio la rassegna, comprendente opere e installazioni di 45 artisti, si inaugura con una serie di brevi performance Sabato 26 Luglio alle 19,30 presso la storica Villa Borbone sul Viale dei Tigli (tra Viareggio e Torre del Lago). La mostra potrà essere visitata fino al 24 Agosto, con orario 18.00-23.00 (chiuso lunedì e martedì).
Un saluto,
Vittore Baroni - Associazione Culturale BAU - www.bauprogetto.it

___________________________________

Dear friends,
in a few days the festival LUOGHI DELL'UTOPIA ("Places of Utopia") will start here in Viareggio. If you happen to pass through Viareggio, on the West Coast of Italy, the exhibition that includes works and installations from 45 artists opens on Saturday July 26th at 7.30 PM with a series of short performances. Villa Borbone is at the middle of Viale dei Tigli, a street connecting Viareggio to Torre del Lago, and the show will be open till August 24th (hr. 6,00-11,00 PM, closed on Monday and Tuesday).
Best regards,
Vittore Baroni - Associazione Culturale BAU - www.bauprogetto.it

_________________________

Partecipanti / Participants:
/ ... /Jennifer Judelsohn/Bonnie MacAllister/ Michelle Wilson/ ... /

Virginia Maksymowicz "Structure and Metaphor" Interview

It's too late to go see the show down at DCCA, but maybe if you ask Virginia really nicely, she'll share some photos of it. The installation was a combination of photomontages taken on her trip to Italy, cast sculptures of corinthian capitals and various bread forms, and large drawings of different caryatids (columns in the form of female figures). I sent her these questions while she was away in China, and here are her responses now that she's back:

The elements of your installation "Structure and Metaphor", including sculpture, drawings, and photographs, are quite different from past installations. Can you talk about your choices and any difficulties or serendipities you encountered?
I'll be absolutely honest about this: my ideas for the installation changed dramatically due to an unexpected health problem I encountered last fall, which made it impossible for me to handle the life-size casts I had envisioned. So instead I decided to display what could be called "a work in progress" including preparatory drawings, photographs and a series of small sculptures that could easily be moved.
The most difficult aspect of the creative process lay in letting go of my original vision. Since the exhibit had been scheduled two years in advance, I had carefully measured the gallery and had planned an installation that would have been designed specifically for the space. Once I finally admitted defeat in the face of the unsurmountable medical obstacle, it became easier.
The most serendipitous event was that in the casting of the various breads, I was able to bring my moldmaking skills to a higher level. Plus, I think they turned out beautifully.

Although you are known as a sculptor, your drawings in this installation are truly exquisite. Have you always created such detailed drawings as preparation for sculptures, or is this a newer working method for you? When do the drawings cross the boundary between working sketch and works of art in their own right?
I've always loved drawing and, most of the time, I consider it an end in itself. I do not usually do detailed preparatory drawings for my sculptures; simple sketches usually suffice. However, awhile back I received a commission for 14 Stations of the Cross for St. Thomas Episcopal Church in Lancaster. Because I was working with a committee, and because the sculptural Stations would take several years to complete, I had to do detailed, to-scale drawings for the group to understand how the finished pieces would look. I liked the result. So the eight-foot drawing in the DCCA show was, in a way, produced both as a preparatory one for an eventual sculptural series and as a work in itself (I did it last spring at the Vermont Studio Center). The smaller drawings in the show was what could be called "think drawings." Although they are reasonably detailed they were intended neither as finished pieces nor as plans for sculptures; rather they were produced so that I could make visual sense out of the similarities among the various female figures.
Where is the boundary? Good question. I'm not sure there are hard and fast boundaries. I'm always surprised when I go to historical restrospectives in large museum, for example, the recent Seurat show at MoMA. Even some of his little scribbles were framed and spotlit. I wonder if poor Georges would have been mortified to see such throw-away works on display!

The cast "bread" sculptures bring to mind fecundity and sustenance. At what point were these symbols included in your plan for the installation?
The idea of bread, as a symbol of life (or as you say, "fecundity and sustenance") had been part of the plan from the beginning—but not in the form that it took. The whole concept of the show (and why it was called "Structure and Metaphor") was based on images that I gathered while at the American Academy in Rome in the fall of 2006. There are bodies (sculptures of them) everywhere in Italy. The majority of them are female and many are structurally integrated into architecture: caryatids, canephorae, madonna shrines, etc. As I photographed and drew, I saw more and more visual connections between these figures: the basket atop the head of a terracotta in a folk art museum became the canephora at the Vatican Museums became the caryatid with a corinthian capital. A church in Siracusa, Sicily, built after a mass-produced madonna statue began shedding tears in the 1950s. is built on top of the site of an ancient "factory" where mass-produced votive figures of Demeter (the goddess of grain) were cast and fired. A figure of Isis at Ostia Antica could be mistaken for the Virgin Mary.
Some scholars believe that Vitruvius's story about the creation of the Corinthian capital—that it was based upon a basket with a flat stone atop placed on the grave of a young maiden—is related to the myth of Demeter. The "young maiden" in question might have been Persephone and the "grave" was the portal through which she was transported to the underworld. The acanthus that grew up around this basket is another symbol of fecundity. It grows as aggressively as kudzu does here in the U.S.
Artists have always stolen from each other, but I suspect there is more going on here. The idea of women, structure, bread, grain and growth, coupled with the structure of architecture, all point toward the foundation of life on this planet. I believe the imagery is an attempt on the part of us humans to grapple with that mystery.

When creating your installations, how do you consider the viewer? Do you want them to have an immediate reaction or understanding? Do you prefer to make them search for meaning? Do you try to direct their movement through space? There are so many aspects to installation art, and I wonder if any particular element has more importance for you.
Normally I view the type of installation I do as a sort of diorama, or perhaps stage-set. They've almost always had a wall as a backdrop; more recently, the wall, or other architectural elements of the room, are actually incorporated into the work. Through this form, I hope that the viewer can take in the visual information from different angles, literally and conceptually. Many times, I have directed their movement through space, although I was somewhat limited at the DCCA because of gallery's two off-center columns and two entryways.
In terms of meaning, I usually try to direct the viewers' attention to a topic and pose a question. Although I don't give easy answers, I do always try to set the terms of the conversation. In that it turned out to be displayed as a work in progress, "Structure and Metaphor" wound up being more open-ended than my work normally is.
I always want the viewer to have an immediate visual reaction, i.e. I try to make work that is visually arresting. However, I'm not interested in "one-liners" (okay, maybe once in a while I can't resist!), so I hope that the understanding part of it will arrive more slowly. I try to walk the line between being too obvious and being too obscure. Sometimes I've felt I've been successful. Sometimes I've felt I haven't.
Why do I like installation? I think because it's a genre that enables me to adapt the form to the content every time I am offered a new opportunity.

Thank you for sharing your thoughts, Virginia!

Member News: Sharon Burton

Fellow Artists and Friends:

If you plan to be in Baltimore this weekend attending Artscape, please note that I will have artwork in a new exhibition entitled Sista Hood at the West Baltimore Center for Urban Art (WBCUA), 1623 West North Avenue, Baltimore, MD 21216, Phone: 301-318-4691. The WBCUA is a new art center and artspace that is part of a grassroots movement to bring the visual arts back to this community. This is a juried show that includes Artwork that will be featured is from women artists in the DC/Baltimore area.

There are two receptions for this group show:

Friday, July 18th @ 6:00 p.m.
Saturday, July 19th @ 5:00 p.m. (I will be attending this reception)

Additional details including the hours of the gallery is attached. If you need to touch base call the gallery or me at 202.615.3401.

Thanks!

sjb

Opportunity Typewriter mail art

Theme: Typewriter Tema: Macchina da scrivere free size qualsiasi dimensione no return le opere ricevute non saranno restituite exhibition in Italy, doc. on line: www.guzzardi.it/arte/machine.html mostra in Italy, doc. on line: www.guzzardi.it/arte/machine.html deadline 30/07/2008 scadenza 30/07/2008 all works must be sent by post tutti i lavori devono essere spediti per posta dont’ forget your photo, some lines of biography, address and e-mail address non dimenticarti una tua foto, una breve biografia, indirizzo postale ed e-mail send to: spedisci a: Macchina da scrivere By Claudio Grandinetti Via Popilia Palazzo Manna 1 87100 Cosenza ITALIA

Contenitore d'Arte Moderna e Contemporanea

Virginia Maksymowicz is Back from China

I'm back from China! Will have lots of stories to tell.

In the meantime, here's a photo for the blog. I am posing with Christopher Zhu (striped shirt) who is the former deputy director of the Shanghai Art Museum and an advisor to the Metropolitan Museum in NYC on Asian Art, and Professor Rick Kent, who is an historian of Chinese art at Franklin & Marshall College. We are at the opening reception (July 5th) of the exhibit, "True Words," of wood carvings by a collective of deaf Chinese artists who live in Shandong province, held at Kun Gallery in the Suzhou Creek district of Shanghai (the main art district). We are bringing some of the works in this show to the US for exhibit at the Phillips Museum at Franklin & Marshall in February. I will be writing an essay for the catalogue.

Member News: Bonnie MacAllister

Bonnie MacAllister is proud to be exhibiting her works on paper and book arts in many diverse shows this summer:

Utopian Library,Viraggio (LU), Italy*

AR(t)CEVIA International Art Festival, Arcevia, Italy.

Postcard Art Connection, National Postal Museum Show, Washington, DC.

My Voice. For Democratic National Convention. RappCity Art. Pine, CO.

Libertad Para El Pueblo Saharaui. Sahara Libre. Artifariti. La oficina de ideas libres. Madrid, Spain.

Concentrated Experimental Poetry, la Galería del MEC, Montevideo, Uruguay. *

*Books have been acquisitioned into these two libraries' permanent collections.

She will also be a part of this WCA/DC show in the fall:
Girls Gotta Run: Fall Collaborative Exhibit
DC Women's Caucus for the Arts
Municipal Center Galleries
Takoma Park, MD.

Dae Rebeck news

IT's not too late to catch Dae Rebeck at the Haddonfield Arts Festival selling large and small paintings. The festival takes place on Kings Highway through downtown Haddonfield.

Saturday July 12th 11am to 8pm

Sunday July 13th 12pm to 5pm

Booth # 139

juried exhibit opportunity

Inspired by the Susquehanna
The Cultural Council of Luzerne County is pleased to announce our Third Annual Juried Exhibition. The theme of this year's competition promotes the power of artistic expression to enhance awareness and stewardship of the Susquehanna River Watershed. Work does not have to depict the river.

-Artist must be a resident of PA, NY or MD. Original work must have been created within the past three (3) years. A maximum of three pieces may be submitted and there is a $20 entry fee for each piece of work.
-Work will be accepted in three categories:
Painting:Oil, acrylic, watercolors, or mixed media, painted on a two-dimensional surface.
Photography:Black & white or color (digital or film) photography.
Works on Paper:Prints, drawings, pastels or mixed media on paper.
-Selection Juror: ROB EVANS Rob Evans, artist and curator of the Visions of the Susquehanna exhibition and a Wyoming Valley native, has work displayed at the Metropolitan Museum of Art and the National Gallery, among many others. His work is also represented in many private collections.www.robevansart.net

The exhibition will be presented at the Luzerne County Courthouse, which celebrates its centennial in 2009. There will be a gala opening reception on October 10th, and the exhibition will run through November 7th. Submissions must be postmarked no later than August 20th.A total of $1,100 in awards will be presented in each of the three categories, as well as Best of Show. CALL for ARTISTS Complete instructions and a form which must be submitted by all participating artists are available in the Call for Artists (PDF 548k). The Call for Artists may also be obtained by calling the Cultural Council at 570-408-4439. Please leave your name and complete address. For additional information, email cclcarts@gmail.com

Meeting recap

Despite the downpour Wednesday night, 5 members showed up for the July meeting. Present were Molly Crowley, Marie Elcin, Martha Knox, Alison Nastasi, and Michelle Wilson.

-arrangements were discussed for the transition of the quilt to Florida at the end of July, and Molly reported that a Rubia board member has recently moved to Florida near the 2 venues and will assist with the exhibitions.

-2 more people have expressed interest in going to the Saturday, September 6th, 3:00 show of Stuporwoman at the Livearts/Philly Fringe, bringing the total to 5 now. We need 5 more people to participate in order to get the discounted price! Please email phila_wca@yahoo.com if you would like to participate. This is a fantastic show, worth seeing, and if you only see one Livearts show, this should be it! It would be best if we could confirm by the end of July.

-the summer National WCA Board meeting is coming up Friday, July 25th-Sunday July 27th. They are starting off with a tour at 2:00 at the NAtional Woman's Art Museum and a potluck that evening at MArilyn Hayes house. If you are interested in attending the meeting(open to all members!) please contact Barbara Wolanin at bwolanin@comcast.net for tour info. And contact Holly Dodge who is in charge of the potluck arrangements holly.arts.dc@verizon.net. And contact Marilyn Hayes to say you will be attending the meeting at president@nationalwca.org .

We had a lovely critique, got to see some new work, and talk about formal and conceptual issues we deal with individually. Having a small group was conducive to the critique atmosphere, and I encourage all of you to consider forming your own small critique groups with people you trust for good, honest feedback. Sometimes it's necessary to see your work from another person's point of view, and by explaining your work and thought process you can see what areas need attention.

The next meeting will be August 13th at Moore. Please bring info about artistic opportunitues you know of to share with other members. We can no longer meet inside the faculty lounge as there was an incident where the catering company's equipment was damaged by another party (not us!). So until further notice we will meet in the rear of the cafeteria.

Hope your summer is fun and safe!
-Marie Elcin, co-president

July meeting

Hello everyone!
Our next meeting is Wednesday, July 9th, 6:30 pm at Moore College of Art and Design.

• This is our semi-annual critique meeting!!! Please bring up to 3 works of art to share-- and remember to give positive, constructive criticism. We're here to support each other!!!
• Have you considered going to the summer board meeting? It will be Friday, July 25th-Sunday the 27th in Washington DC. Please RSVP to Marilyn Hayes president@nationalwca.org if you plan to attend or need housing.
• The Women Helping Women, Stitch by Stitch WCA/Rubia quilt will be up at Grace Episcopal Church , 8 E Maple Ave, Merchantville, NJ for 3 more Sundays. It'll be your last chance to see it for a while as it is heading down to Florida for the next few months. It has had an excellent reception from the congregation and visitors.
• Made plans for the Fringe Festival yet? If we can get a group of 10 together, we will get discounted tickets to see STUPORWOMAN, an amazing performance by dancer Tania Isaac. So far we have 3 people who have responded for the Saturday, September 6, 3:00 performance. Please email phila_wca@yahoo.com to express your interest.
• Travel/Residency opportunity: Deadline January 31: AAW International Residencies 2 wk. studio session, , Alexandria , Egypt . Studios, meals, housing prov. $100 acceptance fee. Artists responsible for travel, maters. See http://www.atelieralex.com/new_page_1-1.htm

See you at the meeting!!!!!

Member Kathy Dobash events

Kathy Dobash is doing interactive art accompanying musical jazz performance at Mea's Restaurant in the MArkle Building, 8 West Broad Street • Suite 50 • Hazleton, PA 18201 on Saturday nights through July and August. Check it out if you're in the Hazleton area!

Battle of the sexes proposal

Thank you to those of you who responded to our call for artists for the "Battle of the Sexes" proposal. It was necessary to limit participation to 15 members, and as we have reached that number, the call is now closed. Thank you to the following members who responded and will be included in the proposal:
Virginia M, Bonnie M, Marie E, Diana R, Cindy B, Marcelle, Qaadira, Michelle W, D McCarthy, Nicole D, Jane C, Molly C, Alison A, Maria P, and Jen H. (sorry for initials-copying from a list)

Thanks also to Michelle for preparing the proposal.