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N E W S L E T T E R S - Fall 2004 |
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This newsletter is divided into the following articles. To read any one of these articles, please click on the text of the article title.
Letter from the Executive Director: Letter from the Executive Director As heart wrenching and painful much of the news is today, we strive to give meaning to life and make sense of the world. Woman Made Gallery is continually witness to and beneficiary of many accomplishments and actions that make us proud and give us hope and joy. Whether it’s our artists, our volunteers, our patrons, our staff, or others, the finest people, however they express it, contribute to WMG and invigorate and uplift us. 
This was evident at the annual Members and Volunteers Recognition Brunch followed by an open boardmeeting on August 14th. Surrounded by the many wonderful artworks that made up the WMG Members' Show members and volunteers were thanked and honored. Board President Wilma Stevens gave a State of the Gallery speech emphasizing highlights of the past year. Treasurer Nicole Gotthelf explained our finances and projected budget, Fundraising Committee Co-chair Margo Jeanchild reported on our successful auction fundraiser, Secretary Rhonda Wheatley addressed membership issues, and Volunteer Coordinator Beth Shank described the importance of volunteer services. There was valuable input by our attending members and volunteers, including Advisory boardmembers Joyce Owens and Deborah Hughes. The Brunch is a perfect opportunity for members to meet each other, give helpful feedback and share ideas on how to improve our programs and services. It is an ideal setting to comment on the role the Gallery plays in their lives while it reminds all of us of the many opportunities there are for members to participate in the constructive development of this organization. Our beautiful Her Mark 2005 Datebook is a wonderful testament to the best of human expressions. Twenty visual artists and twenty poets share their thoughts, which run deep--from the political and personal to the playful and ornamental. We are grateful to all contributors and thank our designer, Karin Kuzniar, who once again did a terrific job. The release party with an exhibition of the artworks and a reading by many of the poets from the Her Mark 2005 calendar is scheduled for October 10th from 2-4pm. Calendars may be bought at the Gallery or online We are celebrating life and the change of seasons with the group and invitational exhibitions, ‘Fabrications’ which opens on October 8th with an artists' reception from 6-9pm. As an added feature and as part of Chicago Artist Month, we have scheduled an art event on Sunday, October 17, from 2-3:30 pm. Artists Cat Chow and Anne Elizabeth will demonstrate a variety of fabrication methods using unconventional materials such as metal, plastic, feathers and paper in their work. Techniques include chain mail, stitching with objects, crocheting with objects, gluing and weaving. Visit WMG, see the art, come to a reading, and connect. Email us if you have comments or questions. If you can’t see the exhibitions live explore the art online. Get empowered and inspired. Support the mission with your membership. We work continuously to make this world a better place and each voice counts! (right) "Liberty Costs", assemblage, 30" x 15" x 8.5” – by Ursula Kammer-Fox - from the Her Mark 2005 calendar – (“My country was freed when I was under three. Bringing liberty to others is a highly prized value. I know that this ongoing process always costs terribly.” )  Board & Staff News We welcome arts entrepreneur Nancy Koprowski as WMG’s newest board member. Nancy is Chief Operating Officer of The Michelangelo Group, LLC, a media consulting company, whose clients include the Wall Street Journal, The Washington Post, and the United Press International, among others. She received her Master's degree in music composition from the American Conservatory of Music, and earlier earned a graduate diploma in publishing management from the George Washington University in Washington D.C. Nancy Koprowski also works part time as a music professor at the Harold Washington College, in Chicago. Annual Holiday Bazaar WMG’s Annual Holiday Bazaar starts the day after Thanksgiving and extends through December 23. As in the past, the Gallery will be filled with a multitude of original and unique arts and crafts items--something for everyone’s taste and budget. Beautiful hand-painted boxes, mirrors, candle holders, ceramic ware and sculptural works, paper maché masks, artist dolls, decorated purses and beautiful silk scarves, jewelry galore, artist greeting cards and coloring books for women are just some of the great items available. 
Woman Made Gallery is the place to be There will be art, ceramics and jewelry galore So take your sleigh and jingle on by Holiday Bazaar Gallery Hours Member’s Brunch Artist’s Reception "GOING TO THE SHOW ... OR NOT" By Jill Buckingham 
After my last real job ended in a well-timed layoff two years ago, I took the opportunity to make a real go of being a jewelry artist. I decided this meant doing shows. Lots of shows. So I did 51 shows last year, my first full year of exhibiting. Well how do you find show information? Go to the Chicago Artists Coalition/Illinois Art Council’s Illinois Art Fair directory www.caconline.org/artfair or call CAC at 312-670-2060 for a hardcopy. This is a pretty comprehensive listing but not all shows are in there, so word-of-mouth is also good. Ask your exhibiting artist friends about shows they like. Also decide your show entry fee budget. If your existing sales support expensive shows ($300), go for it but if you’ve never sold anything start with the mid-range shows ($100-$300). I have done the cheap shows also (<$100) but you get what you pay for. The next step is to have professional slides made of your work. Do not read any further if you are not going to do this. You will NOT get into shows without professionally-shot slides, you’ll just be giving away jury fees. I have my slides re-shot every year to show current work. It’s well worth the couple hundred bucks. You are running a business and you have to spend some money to make some money. Ok you have the listings and you’ve sent the applications with the slides. What to do before your first shows? Buy or borrow a hand truck. I’m not kidding. Do not attempt to schlep all your stuff over mud, grass, wood chips, rocks and other obstacles, you will start the show exhausted and end it even more frustrated. When you’re in a show, try to get someone to booth-sit for you so you can look around at other displays. I learned a lot this way and consequently saved some money. I noticed a neat solution for painters last weekend, mesh tent walls that one can hang paintings on that are lightweight and offer greater visibility than solid vinyl walls. Oh and yes, you have to buy a tent. Any quality show doesn’t allow makeshift tarp-and-lawn chair displays, and of course you don’t want to be in shows that do. Again, a couple hundred bucks will do it for starters. Go to your favorite on-line discounters and shop, there are specials all the time. Now you want to build a customer database. I ask EVERY customer if he/she wants to be on my mailing list "…for shows and sales…" I built a 350+ person database in one year this way and now do direct mailings to my customers routinely. Do not rely on show-goers dropping a card at your booth or filling out forms, even for raffles. Fuggeddaboudit, everyone’s too busy. Repeat buyers will make your art business over time so take time to gather their information. I’m a heavy e-mail user so I sometimes only collect name and e-mail address if the show is very nutty-busy. Ok so that should get you started. To summarize:
And last but not least, don’t give up! Shows can be great or awful, it’s not you. It’s the weather, the day, the crowd or lack thereof…just keep trying and see you at the shows! Jill Buckingham is a WMG member who sells her jewelry at the WMG giftshop and Holiday Bazaar. For more info visit www.jillbuckingham.com Call for Art by Women in Photography: 
Call for Art by Women in Photography "Decisive Moments" is an international juried online photographic exhibition in tribute to the life and work of Henri Cartier-Bresson (1908-2004). The call for entries is open to female photographers, professional and amateur, using any photographic process. Entries must illustrate Cartier-Bresson’s concept of the “decisive moment” in photography. All entries must be submitted by December 1st as digital files using the online form at www.womeninphotography.org Founded in 1981, Women In Photography International is a non-profit, outreach organization, which promotes the visibility of women photographers and their work. COC Circle of Confusion, named for the area of film illuminated by light from a point outside the camera, is a cooperative darkroom that encourages creative expression, promotes the refinement of skills, and fosters exchange and support within Chicago’s artistic community. Beginning in October, second Sundays from 4pm-6pm, COC will host a gathering where photographers can mix ideas and share work. 1741 N Western (basement of ACME) Thanks to Eleanor Wilder for suggesting that we include more photography topics in our newsletter. (right) "Gender Identity", selenium toned gelatin silver print - 16" x 20" – by Jody Magrady - from the Annual Members’ Show 2004 Special Thanks To... (Please check our next newsletter if your name is not yet included here)  Woman Made appreciates the following individuals and organizations for their ongoing support of the Gallery: Our Board Members for their continued hard work, devotion and board pledges Our Donors A Woman Artist You Should Know: Ana Mendieta: A Woman Artist You Should Know: Ana Mendieta 
While at the University of Iowa, in response to a rape on campus, Ana Mendieta invited fellow students to her apartment where they found her bound, stripped from the waist down, and smeared in blood. Dimly lit photographs document the event. Once when at the Iowa studio of her teacher and friend, Hans Breder, the smell of cut grass in the air inspired her to undress, recline on the lawn, and ask her classmates to cover her with grass clippings that would cling to the shape of her form. Photographs show how her body blends into the ground. Another time, she outlined the shape of her body with fertilizer so the grass would grow taller around the outline. In Oaxaca, Mexico, she asked a cohetero (maker of fireworks) to make a firework piece in the shape of the outline of her body. Other times, she outlined her form with gunpowder, paint, or blood or made impressions in snow, earth, or rock. Time and again in the 1970s, Ana Mendieta used her own body as a medium in her art, creating her signature series, “Silueta” or silhouette, which sought to establish, “a dialog between the landscape and the female body return to the maternal source.” The Silueta series was made in Iowa and Mexico between 1973 and 1980. She used her body or images of her body in combination with natural materials and then photographed them just before or during their destruction. Born in Havana, Cuba, in 1948, Ana and her older sister Raquelin came to the United States in 1961 as part of the Catholic-sponsored exodus known as Operation Peter Pan. Although her life in Cuba had been one of wealth, it is said she was influenced by Santeria or Abakua, the underground religion practiced by the kitchen maids. Once in the U.S., she spent time in Iowa orphanages and foster families and attended school there. After receiving her degree in art in 1969, she worked as an elementary teacher and then continued her studies at the University of Iowa, taking evening courses toward her Master’s degree in painting, which she received in 1972. She then began to work for her Master of Fine Arts degree by enrolling in the Multimedia and Video Art program, a program that had attracted national attention and been expanded by a major Rockefeller Foundation Grant. Of this time, Ana wrote, "The turning point in my art was in 1972 when I realized my paintings were not real enough for what I wanted the image to convey—and by real I mean I wanted my images to have power, to be magic. I decided that for the images to have magic qualities, I had to work directly with nature. I had to go to the source of life, to mother earth." 
In the late ‘60s and early ‘70s, Ana’s art was dramatic experimentation of female identity. In “Facial Cosmetic Variations” photographs show how she changed her appearance using costumes, make-up, and props. In one shot she appears a temptress and in another her facial features are smashed behind a nylon stocking. Other photos document “Facial Hair Transplants,” a series from 1972 in which a male shaved his beard and mustache while Ana applied the shorn hair to her own face, making herself into an Amish farmer, a pirate, and other personae. “Body Tracks” performances in 1973 and 1974 record Ana and the bloody trail left by her outreached blood-soaked hands and arms as she slid down a wall onto the floor.
In 1978 Ana moved to New York. Her first shows included an installation at the State University of New York at Old Westbury, Long Island, at Henry Street Settlement, and at the A.I.R. Gallery where the “Silueta Series 1979” was first shown. After a panel discussion at A.I.R. Ana met Carl Andre, the minimalist sculptor. In 1980, the year she won the Guggenheim, she traveled back to Cuba, taking sand from Varadero Beach near her grandparents’ home in Cardenas and Cuban soil back with her to New York. Ana’s life came to a tragic end in the early hours of September 8, 1985, when she plummeted 34 stories from the Greenwich Village apartment of her husband. Although she and Andre had been a couple since the late ‘70s, they had been married for only nine months, having wed in Rome of that year. Ana had gone to Italy in September of 1983, having been awarded the Prix de Rome at the American Academy. According to friends and relatives, Ana was planning to divorce Carl and return to Rome. On February 11, 1988, Carl Andre was acquitted of her murder. At the time of her death Ana was working on tree-trunk carvings. A retrospective of her work, “Ana Mendieta: Earth Body, Sculpture and Performance 1972-1985,” curated by Olga Viso of the Hirshorn Museum in Washington, D.C., will open October 14 and extend until January 6, 2005, at the Des Moines Art Center from February 25 through May 22, 2005; and the Miami Art Museum from October 7, 2005 though January 15, 2006. Ellen Wade Beals is a WMG member, writer and poet. (top right) Ana Mendieta – "Silueta de Cohetes", 1976 Oaxaca, Mexico - photo Hans Breder Announcing HER MARK 2004 
Join us for the HER MARK 2005 Datebook RELEASE PARTY, READING and EXHIBITION The oil painting, ‘Peg’ by Margaret M. Adams from St. Louis, Missouri was selected to be on the cover of this edition. Inside the 7"x6" datebook are weekly calendar pages interspersed with poems and artwork in both black & white and color. Eight color artworks double as postcards. Both useful and inspiring, the Her Mark 2005 Datebook makes a great gift--for yourself and for all the art and poetry lovers you know! Copies of HER MARK 2005 are may be ordered online for $18 each plus $2 shipping per datebook. Art jurors Roberta Reb Allen, Beate Minkovski and Rebecca Sive selected one image each by the following artists: Margaret M. Adams, Lisa Marie Barber, Allison Rae Butkus, Liz Cohn, Frances Giron, Tia Maria Hoeller, Ursula Kammer-Fox, Elzbieta (Elka) Kazmierczak, Suzanne Keith Loechl, Deborah Graves Pipes, Ellen Reinkraut, Alice Sharie Revelski, Juanita Richeson, Sita Seng, Galen Bell Smith, Kimanne Smith, Katherine Strause, Rachel Suntop, Sylvette and Jennifer Weigel. Poetry jurors Stephanie Rose Bird, Susan House and Kathleen Kirk included one poem by each of the following 20 poets: Jane Cook Barnes, Ronda Broatch, Sarah Browning, Nancy Lou Canyon, Jennifer Dotson, Dianne Efsic, Claudia Van Gerven, Elizabeth J. Gregg, Angela Just, Susanna Lang, Michelle S. Lee, Karen Matthee, Ann E. Michael, Pamela Miller, Jude Rittenhouse, Ysabel de la Rosa, Tania Runyan, Andrea Selch, Constance Vogel and Suellen Wedmore.
Seeding the Snow Seeding the Snow is a journal of women's writing and artwork that celebrates the mid-western landscape. We are always looking for submissions of poetry and prose related to the connection between women and nature in the mid-west. We also are interested in artwork that reproduces well in black and white. To subscribe, please send $16 to Seeding the Snow, 2534 N. St. Louis, Chicago, IL 60647. More information is available at www.seedingthesnow.org Poetry Corner Subrosa 
oh child, oh child, oh, child, Elizabeth J. Gregg is one of 20 poets who has her work included in the Her Mark 2005 calendar. (right) “Motherless Child”, oil on board - 12" x 12" – by Suzanne Keith Loechl - from the Her Mark 2005 calendar My Journey Into the Arts I have done a lot of creative work throughout my life, painting, sculpturing, writing, photographing and many other things. 
My greatest wish to go to Art College could not be fulfilled. Instead I went to university to earn my degree for something more "solid" than the arts but it did not help because I did not find the job I wanted. I started to work in computer companies, strenuous jobs which did not leave much time for leisure. In the evenings I was simply too tired to find a compensation in my creativity. My head seemed to be empty as a vacuum. Once or twice I tried to pull the brakes only to fall deeper into the machinery. Then the turning point came - not voluntarily - months of depression followed. But one day I decided neither to give in nor to let other people decide over my life again. In 1998 I began to look for a new way to earn a living with my own business. I decided to build a wooden desk, sturdy enough for a computer which I needed to write documentations. I spent whole nights drawing and planning the construction as well as reading books about wood and surfacing. I learned to carve ornaments. A whole series of furniture, sculptures and reliefs followed. This was the beginning of my artist career. The impressions I had collected on my past travels through Asia fostered my creativity - their influence showed strongly in my work and can still be seen in my silk art. Although touching a smooth, well-worked surface of wood is a sensual feeling, it lacks softness. I was always fascinated by silk, its feel, its shine, its capability to convey colours as no other material can apart from glass or minerals. I decided to start working with silk. I realized that silk is extremely flexible. I manipulated silk in a way you cannot with other natural fibers such as cotton or rayon. You can hardly tear it when not initially cut with a sharp instrument. Tiny holes where the single thread has not been damaged will heal by themselves miraculously. Silk can be shaped, it can be twisted, it can be sculptured. Instead of cutting away material to work out a face, a figure, a landscape or some abstract scenery I worked secretly "from behind". Adding layers, one by one, pushing the silk surface into a 3-dimensional plane. I had to be gentle but still firm. It is like the secret of a good education - you give a form but you do not destroy the content, you help to build up a personality but you do not break the will.By following these rules it allowed me to do nearly everything to my work. I could manipulate my work even further by using additional paints, pigments, depending on the result I wanted to achieve. I added more depth using the traditional techniques of painting, light against dark, which adds the visual impression of distance. There is no limit apart from the ones you create in your head. Whether I create figurative or abstract work the final result is a piece of artwork which incorporates a stunning paradoxon - a stone or metal-like surface has the feel of soft fiber similar to the trompe d'oeil murals resurfaced during the Renaissance and Baroque eras in Europe. My work appeared different from any angle, changing again depending on the incidence of light. I had a sculpture, a painting and a piece of fiber art in one work. But now I called it a "SILK CARVING©". I continued to look for new experiments and re-discovered the old Chinese medium of painted scrolls. For me this seemed to be another perfect playground for my love for painting. While I was using only silk (not paper) for my work I added another component: stitching. This was the birth of "SILK PAINTED SCROLLS". Last year I began to exhibit my work in the United States. From the very beginning it was clear to me that I had to go abroad to be able to show my work. Germany unfortunately is a desert when it comes to supporting emerging artists. So my first contacts towards the outer art world came about through the internet. The result was an invitation from the Rockhill Museum in South Carolina last year which actually ran until the end of April this year. Many juried and invitational shows followed. This year my work has been exhibited at venues such as the Mesdag Museum in The Hague, Netherlands, the Whistler Museum and the New England Quilt Museum in Lowell. Another venue takes place at the Zonta Club in Cincinnati, a fundraising event to help eliminate violence against women and children, a theme which is very important for me. And last but not least, my work has been at Woman Made Gallery. I finally found my freedom, harmony and healing in what I am doing: art. My journey has been long and painful at various stages but it continues. Petra Voegtle is a WMG member from Munich, Germany. For more information visit www.vyala-arts.com (right) "Lost Treasures - Rainforest", fiber, silk - 66" x 17" – by Petra Voegtle Please check our WOMAN MADE GALLERY CALENDAR for all events throughout the year. Please + Thank You We would like to thank the following individuals who have become members or renewed their memberships and all those who have donated money, items, time and talents. We apologize for any misspellings and appreciate if you would let us know. Please check our next newsletter if your name is not yet included here.
Carolyn Anderson, Francine Ferrara, Setsuko Isomura (Fujiko Isomura), Margaret Adams, Nell Angelo, Caryl Anselmini, Bill Ayers, Ellen Wade Beals, Laurinda Bedingfield, Karen Benson, Allison Berman, Mary Biddinger, Bonnie Bisbee, Janet Bloch, Elise Blue, Lee Ann Bradford, Mary Broccolo-Derr, Roxann Burger, Jenny Buza, Mo Cahill, Moira Carlson, Martha Ceccio, Lynda Cole, Laurel Garcia Colvin, Barbara Cone, Melanee Cooper, Pamela Crabtree, Patricia Cudd, Vicki Curtis, Alice Dan, Deborah Adams Doering, Susan Dupor, Janice Elkins, Carol Elliott, Skye Enyeart, Rhea Escudero, Ramona Fabregas, Frederick R. Fechtner, Sheila Finnigan, Yvonne Gajewski, George Gehrken, Pegi Gibson, Billie Giese-Vella, Sean Griskenas, Carolyn Grisko, Barb and Andy Grzybowski, Judith Guajardo, Naomee Guest, Sharon Guy, Sharon Harper, Lorraine Hart, Susan Heath-Kelleher, Juliette Herwitt, Dana Holst from Lars Townsen, Victoria Hutsler, Claudette Irvine, Suzanne Isaacs, Margo Jeanchild, Shelly Jyoti, Elzbieta (Elka) Kazmierczak. Catherine Martha Keebler, Lois Keller, Adele Kiel, Kim Brenner, Linda Kirkbride, Stephanie Kluk, Nancy Koprowski, Helga Krueger, Kathy Kubik, Jennifer La Civita, Gayla Lemke, Peggy Lipschutz, Catherine Lundgren, Karin Luner, Margaret Lutze, Velga Malek, Caitlin Martell, Carol Mason, Devon McKean, Marian McNair, Joan Hennessy McNeel, Suesi Metcalf, Pamela Miller, Rim Nachawati from Claire Yashar, Kristen Neveu, Jean Nevin, Lisa Noble, Cathy Norris, Laura Nugent, Kathleen O'Brien, Christine Olson, Natalie Haynes Parker, Paula Patterson, Elizabeth Paxson, Gisele Perreault and Peggy Mason, Helen Quade, Sudie Rakusin, Juanita Richeson, Eva Roa, Jerry Ruiz, Nina Savar, Valerie Schiff, Maureen Seaton, Suzanne Shafer-Wilson, Linda Sharpe, Terri Snider, Leslie Sobel, Dian Sourelis, Alison Spiesman, Cynthia Staples, Earlene Strickland, Bonnie Summers, Margaret Sweeney, MaryRoss Taylor, Cathy Tepper, Elsbeth & Otto Thilenius, Michele Thrane, Annette Turow, Gale Vance, Johanna Patricia Vargas, Eleanor Wilder, Hew Wilson, Charles Wolfe, Amy Zucker. Volunteers We appreciate the help by our volunteers and thank them for their valuable contributions. We thank our Volunteers Coordinator Beth Shank for her excellent work. We appreciate the help of all our volunteers and interns and thank them for their valuable contributions. Marti Bash, Ellen Wade Beals, Ann Evans, Barbara Grzybowski, Juarez Hawkins, Andrea Harris, Adele Kiel, Mary King, Rebecca Kinney, Carol Mason, Eduardo D. Misley, Barbara Puechler, Karen Rechtschaffen, Eva Roa, Elizabeth Shank, Zareen Sirajullah, Laura Stempel, Solvei Sullivan, Alexandra Zonis (right) “Girl Friends”, acrylic - 16" x 12" – by Margaret Newman ERIN JOSLIN We are very sorry to hear that artist, Erin Joslin died on August 23, 2004. Our most sincere condolences and empathy to Erin's entire family and all who knew and loved her. Erin Joslin graduated from the School of the Art Institute in Chicago in 1998 with a BFA. Her previous trip to Ireland inspired her to work with raw sheep's fleece. Erin exhibited two of her carefully crafted and very beautiful three-dimensional artworks in the 'Animal Stories' exhibition which was on display from September 11 to October 9, 1998 at Woman Made Gallery. Read more about Erin on the Tribute Page Businesses We Support
EZMAIL services PSN - Progressive Systems Network WMG Wish List
Donated items should be in workable condition and are tax-deductible. Sponsor An Exhibit Or Purchase Award: Sponsor An Exhibit Or Purchase Award Please become an exhibit sponsor or give an exhibit purchase award for future shows. An example of exhibit sponsorship is providing money for printing and mailing expenses of invitations. Your name would be printed on the invitations and in our newsletter. You might also want to give a purchase prize for a select exhibition. This means that you would commit to buying one artwork from one exhibition. Your name and /or company would be credited on all printed materials and on our Web site. For more information contact WMG at (773) 489-8900. Online Registry 
WMG’s online registry is growing in leaps and bounds and presently shows the work of over 50 women. Each artist’s main page includes an image plus her bio and artist statement. The gallery page includes a good representation of the artist’s work. Your "Internet Gallery" can help you connect with potential collectors, gallery owners and curators from around the world. The total cost for the basic website for the first year is $250 which includes: annual hosting fee ($150), setting up your site, scanning and color correcting 15 slide images plus one main-page image, and typesetting your personal information (resume, artist's statement, selected exhibitions, etc.) The advanced version of the website allows you to have up to 50 images on your site. The cost is $10 per image above the initial $250 price. To exchange older images with new work or add more images it will cost you $10 per image. Editing any amount of text is $10 per incident, regardless of how much text updated. Hosting and maintenance fees will be $150 for each future year. The most recent artist websites include: Sean Griskenas, Elizabeth Featherstone Hoff, Rim Nachawati, Jere Van Syoc and Anne Taft. All artist’s websites may be explored at http://womanmade.net/galleries.html (right) “La Poupette”, clay, acrylic, cloth - 34"x18"x43" – by Elizabeth Featherstone Hoff Order/Reservations Please use our MAIL-IN ORDER FORM or visit our ONLINE SECURE SITE where you can order various items, like Her-story T-shirts, the Big Fish CD, Her Mark 2005 calendar/datebook or register for workshops and pay with Visa or Mastercard. Membership/Volunteer Form Please go to our MEMBERSHIP PAGE to find out how you can support our efforts with your membership and volunteer services. Regular membership is only $35 per year and can be charged with Visa or Mastercard from our Secure Site. Member Discounts Please check our MEMBER'S DISCOUNT PAGE for businesses that give discounts to our members. Call for Artists: These are the options for obtaining guidelines for group exhibitions: 1. Send a self-addressed-stamped-envelope with title of exhibition to: Woman Made Gallery, 2418 W Bloomingdale, Chicago, IL 60647. 2. Download the entry form from: Here. 3. Email gallery@womanmade.org to receive an email version of the entry form if you wish to submit digital files. 
ANNUAL HOLIDAY BAZAAR EIGHTH INTERNATIONAL OPEN SECRET PLACE, SACRED SPACE EARTH & FIRE: WORKS IN CLAY (right) “Untitled 1100”, Painting in Madhubani Art Form - 18" x 12" - (Ink Work Cow Dung Treated) by Shelly Jyoti Previous Newsletters Click here to read our previous newsletters. |
May 28, 2005
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