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N E W S L E T T E R S - Spring 2005 |
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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 The New Year started with a very big bang for WMG. We received $12,500 worth of stock from an anonymous donor as a year-end gift. Our most heart-felt thanks go to our generous beyond belief Art Angel, who has already gifted us several large donations in the past. 
In addition, a grant check of $5000 was received from the Gaylord and Dorothy Donnelley Foundation, and the Polk Bros Foundation awarded WMG a $2,500 discretionary grant to be used in educational programs at neighborhood schools. Thank you to grant writer Olga Stefan for all of her efforts on behalf of Woman Made Gallery. The Director’s Fund event on January 30th was a wonderful and very successful afternoon with both Janet Bloch and Pamela Callahan present and their art on display (see details on page 2). We are grateful to all the donors who helped us to raise $5360 for the organization. Is money all we can talk about you ask? Yes and No is the answer. For all who have worked in not-for-profits this doesn’t come as a surprise. Money translates into programs that serve WMG's mission. And we are so very passionate about that mission. So many people do so much at WMG with very little to no monetary reward. Board members and advisors give their time, energy and funds to help Woman Made grow and prosper. Numerous volunteers and interns work diligently to help the staff with a huge workload. Individuals and foundations donate money and gifts. Members join and renew their memberships year after year. All efforts, energy and gifts are poured into the WMG stew and every penny received nourishes this organization. We welcome inquiries and our annual report is always available for public inspection. A new name, a fresh look, a real focus: After much thought and evaluation, the WMG Gift Shop has been renamed the Artisan Gallery. We are grateful to Board member Carmen Perez and Advisory Board member Mary Stoppert who have shaped the physical space as well as the organizational aspects of WMG's newest exhibiting venue. Read about the exciting changes on page 2 in this newsletter. Online exposure: For many years, WMG's Slide Registry has been a successful resource for bringing artists to the attention of collectors, curators and gallery owners. But since our relocation to Bloomingdale Avenue at the start of 2003, not a single request to view artist's slides has been made. Instead, numerous contacts have asked us to provide information online about the artists that we exhibit, spurring ever-increasing visibility to artists with a web presence. Thus, we have decided to discontinue the slide registry and focus instead on the marketing of our members through the Internet. Stay tuned for future updates and opportunities for artists through WMG's successful Online Registry: www.womanmade.net. Thank goodness for more light and longer days: Preparations for WMG's annual Art Auction fundraiser are underway and invitations have been sent. If you are interested in purchasing tickets, sponsorship or donating to this eclectic evening of art, food and fun, please contact us by phone: 773-489-8900 or by email gallery@womanmade.org or check our website http://womanmade.org/auctions.html for more details and glimpses of artwork and other fabulous items to be auctioned. Our goal for this one-night event is to raise $50,000, a huge undertaking, but possible thanks to the help of hundreds of individuals. We hope to see you there! Congratulations to the winners of the 8th International Open: Judith Schubert Mullen received a solo show at WMG in 2006; Wendy Ho from the UK won second prize; Mahine Rattonsey from Pittsford, NY received the third prize; fourth and fifth prizes went to Chicago artists, Jen Thomas and Rachel Davis. Thank you to all artists who were part of the first two shows in 2005 and gratitude to all the jurors whose visions form the stimulating and exciting range of WMG exhibitions, helping us to fulfill the belief that the world is a better place with art, more art! Onward into Spring's wild creativity... (right) “Fornication (in French)”, photography by Filiz Cicek – from the 8th International Open  Board & Staff News Welcome to newest Board member, Mary Ruth Coffey whose impressive resume includes Non-Profit Management experience, an M.B.A. in International Management and a Juris Doctor. Her work for ATHENA Foundation and Sarah’s Inn will greatly benefit WMG. Sonja Kruitwagen has discontinued her position as Gallery Director and we thank her for her work and contributions to the organization. All of us at WMG wish her the very best for the future. Newest staff member is Zareen Sirajullah who is WMG’s Gallery Assistant. Her background includes involvement with numerous Chicago not-for-profit organizations as an employee, volunteer and part of fundraising/event planning committees. She brings with her a strong set of organizational skills. Her expertise lies in re-formulating and streamlining procedures in order to improve efficiency. Please read about our volunteers in this issue. Artisan Gallery at Woman Made: Artisan Gallery at Woman Made Our gift shop is getting a makeover. Renamed Artisan Gallery, in honor of the many fine women working in traditional and untraditional craft disciplines, WMG's new venue is an alternative to the gallery's juried thematic exhibitions, offering expanded exhibiting, marketing and selling opportunities to women artists and artisans whose body of work is primarily functional and/or decorative, or is unconcerned with pursuing content or a narrative. Re-designed with elegant new furniture, display and storage that makes efficient and aesthetic use of the space, the Artisan Gallery accommodates a much wider variety of works. The old gift shop format, which permitted Woman Made members to send or bring in unsolicited artwork for sale, is also changing. A new policy requires that all art and craft items must first be submitted to the Artisan Gallery committee for review. You will then be contacted and asked to bring or send in your work. The reviews will be ongoing, so that we will always have fresh and new items to display and sell. A Featured Artist section will change periodically. An artist will be asked to submit a small body of work for display and she will be featured on the Woman Made website. We will also consider thematic ideas appropriate to craft media, possibly to coincide with the current gallery exhibit theme; or explorations into materials or techniques. We are always open to feedback and input from our members. What we are looking for: Original, artful crafts, well designed and fabricated by the artist, not handicrafts or items made from kits. We encourage the submission of traditional, as well as the untraditional materials, techniques and processes: ceramics/ clay; glass; wood; basketry; fiber (no clothing except scarves); stone; paper; metals (enameled, forged, fabricated, or cast); plastic; rubber; and more. We understand that there are crossover artists, that use craft materials in a more narrative fashion, and this is o.k. as well. We still welcome submission in other areas, but not mass-produced, commercially generated items. Limited edition: photography, prints (no giclees or commercial lithos). We are also looking for artist-made or produced: books, (one-of-a-kind and limited edition printing including poetry); music: CD’s, DVD’s, videos. If in doubt, please inquire before submitting. Submission Procedures: 1. Send up to 10 slides via mail. Please be sure to label each slide with your name, etc. Enclose a stamped self-addressed envelope for return of the slides. Woman Made may keep one slide for our archives. WMG membership required upon acceptance. Sales Policy: The artist will receive 60% of the sales price. Artisan Gallery Committee: Director’s Fund 
On Sunday, January 30th Woman Made Gallery honored the many contributions of Senior Advisor, Janet Bloch and Gallery Associate, Pamela Callahan with a fundraising event that has raised so far more than $5,360. Close to 50 devoted admirers of these two outstanding women and fabulous artists who gave years of service to the WMG participated in the celebration. The event was truly a wonderful opportunity to see so many familiar faces together, each of whom has helped shape WMG into the great art community it has become. With delicious sweets perfect for a Sunday afternoon and beautiful flowers everywhere, there was connecting and conversation amidst a gallery filled with art: the Devils and Dolls group and solo shows as well as work by Janet and Pamela were on display. Board president, Wilma Stevens presented a warm introduction speech and both Janet and Pamela shared what motivated them to become so deeply connected to the Gallery. Margo Jeanchild urged appreciators of WMG to donate generously and at Ginny Sykes’ suggestion, Jere Van Syoc took group photos to preserve the moment. Thank you to all who contributed and all who attended the event: Verda Abernathy, Roberta Reb Allen, Connie Amon, Barbara Aubin, Ellen Wade Beals, Ina Beierle, JuneFelicia Bennett, Haralyn Bortnick, Jeanne Buiter, Mo Cahill, Andy Callahan, Patricia Callahan, Diane Cooper, Beatrice Fisher, Julia Devos Ford, Shelley Gilchrist, Andrea Ginsburg, Kathy Greenholdt, Pearl Hirshfield, Deborah Hughes, Margo Jeanchild, Marva Pitchford Jolly, Nancy Koprowski, Ginny Krueger, Kindy Kruller, Peggy Lipschutz, Mary-Ann Lupa, Lauren Mathews, Patricia McMillen, Roberta Lindegard Meier, Bert Menco, Roberta Mezinskas, Roberta Miles, Pamela Miller, BettyAnn Mocek, Judith Schubert Mullen, Anne Nordhaus-Bike and William S. Bike, Staci Page Oien, Rosanne Poppell, Ann Regan, Lisa Ross-Miller, Wilma Stevens, Amy Stoeffler, Mary Stoppert, Ginny Sykes, Jere Van Syoc, Kathleen Waterloo, Deborah Weber and one individual who donated anonymously. From Janet and Pamela: We are passionate about Woman Made Gallery and have each contributed a number of years to work full-time for its mission. And so every dollar people contributed to this fund is heart felt by us because it insures the longevity and vitality of Woman Made's mission. We especially are grateful to the founder and Executive Director, Beate Minkovski, who has changed our lives (and perhaps yours too) with the creation of Woman Made Gallery. She has more vision, energy and conviction then we could even begin to muster. - Janet Bloch and Pamela Callahan (left) “Pamela Callahan” – (right) “Janet Bloch” WMG Art Auction 2005 
Mark the Date! There are so many ways you can be involved and all of them are essential for the success of this event:
If you already know what you want to do, contact us at (773) 489-8900 to sign up or if you want more information about the event, call or send us an email: gallery@womanmade.org Thank You Early Auction Sponsors Margo Jeanchild - $1,000.00 Special Thanks To... Woman Made Gallery is supported in part by grants from the Illinois Arts Council a state agency, by a CityArts Program II grant from the City of Chicago, Department of Cultural Affairs, the Gaylord and Dorothy Donnelley Foundation, the Polk Bros. Foundation and by the generosity of its members and contributors.
We thank our Anonymous Donor Art Angel for the generous gift of $12,500 Our Board Members for their continued hard work, devotion and board pledges Our Business Sponsors
Catalyst Ranch, 656 W Randolph, Chicago, IL 60661 – www.catalystranch.com Our Donors
Consuelo Alonzo-Gillock - $250.00 JuneFelicia Bennett - $150.00 PR Davis - $100.00 Lynda Dolan - $250.00 Ursula Kammer Fox - $250.00 Paula Greer - $135.00 Katherine Morsbach - $135.00 Catherine Keebler - $125.00 Barbara Trentham - $135.00 John and Dorianne Venator - $135.00 A Woman Artist You Should Know: Louise Bourgeois : A Woman Artist You Should Know: Louise Bourgeois – Living Legacy 
Born on Christmas Day in 1911 to Josephine and Louis Bourgeois, Louise Bourgeois disrupted the Christmas festivities and disappointed her father who had hoped for a son. When World War I broke out, her father fought in the French army. Josephine moved Louise, her older sister Henriette, and baby brother Pierre to Aubusson where her family had a tapestry business. When Louis was wounded, Josephine took Louise, the child who most resembled him, to see her father in the hospital. Images of that visit appear in her work. When the war ended, the family bought a large house on the banks of Bievre River in Antony and continued in the tapestry business, restoring the centuries-old textiles and selling them to Parisian collectors. Josephine managed the business. One day the draftsman whose job it was to fill in the missing areas of the tapestry did not show up for work and 10-year-old Louise was asked to do the sketch. From then on she helped in the atelier. Louis Bourgeois presided over the family dinner table, teasing his children, a behavior reflected in his daughter’s 1974 installation, Destruction of the Father, which features a red-lit mouthlike cave littered with bulging shapes that resemble body parts. He hired an English nanny who would become his mistress. Everyone–Louise, her mother, the women tapestry workers—knew of this ten-year affair. In 1929, Louise studied mathematics at the Sorbonne. When her mother was sick with chronic lung problems, Louise would administer the medical procedure of cupping, thought to expel toxin. After her mother died in 1932, Louise enlisted in the Ecole des Beaux Arts but her father would not pay the tuition. Several French artists gave classes to Americans and since Louise could speak English, she attended as a translator. She worked as a docent at the Musee de Louvre, taught, and toured the continent, then opened a small art gallery on one side of her father’s tapestry shop. Louise met Robert Goldwater, an American art historian; they married and moved to New York in 1938 and had three sons. Her first solo show in 1945, along with drawings, prints, featured her painting, Natural History, which depicts a plant’s life cycle as well as the first in her series, Femme Maison. This shows a female figure with a house over the upper body and head. During her years as a young mother, she returned to sculpture and created the Personages, tall wooden abstract pieces. At her first one-woman show at the Peridot Gallery in 1949, she bolted the pieces directly to the floor; many called art historians consider this the first installation piece. In 1951, her father died and Louise withdrew from the art scene. In 1966, she was included in the “Eccentric Abstraction” show at the Fischbach Gallery in New York. At this time she was working with plaster, latex, and resins, creating Lairs, soft, rounded sculptures like nests. 
She began working with marble, traveling to Italy, to pick the stone to create her Cumul series, carved, rounded shapes clustered together. In 1973, when Louise was 63 and her career was taking off, her husband died. She continued with her art, creating a mock fashion show A Banquet/A Fashion Show of Body Parts, which included latex costumes bedecked with breasts. The Museum of Modern Art featured work by Louise in the 1980s. She continued working in marble, creating sculptures such as Fallen Woman, which features the delicately carved face of a woman on the end of a club, and Venthouse, a marble slab on which cups for cupping are arranged. She created a new set of installations using found objects as well as her sculptures, which she called Cells. One Cell features Shalimar bottles and marble hands; another is a marble house enclosed with a guillotine. In 2000, her large scale project for Turbine Hall of the Tate Museum featured three gigantic steel towers, I Do, I Redo, and I Undo, as well Maman, a 35-foot spider. Gigantic mama spiders by Louise Bourgeois have also appeared in Rockefeller Center and at the Guggenheim in Bilbao, Spain. A recent Internet search shows Louise Bourgeois continues in art; the Barbara Krakow Gallery catalog features Untitledand its spoked circles, Spiraling Arrows, and Glass Object (all drypoint on Hahnemuhle paper). She is quoted as saying, "All my work in the past 50 years, all my subjects have found their inspiration in my childhood." Ellen Wade Beals is a WMG member, writer and poet. (top right) "The Puritan, 1989-96" text & hand colored etchings on hand-made paper by Louise Bourgeois. Sweet Briar College Art Collection, Gift of Friends of Art Call for Art and Poetry 2006 Date Book: Call for Art and Poetry 2006 Date Book It’s time to submit artwork and/or poetry into the Her Mark 2006 calendar competition. HER MARK 2006 is an exhibition in book form, one that travels outside the Gallery walls and remains in people’s hands throughout the year. The entry deadline is May 4th, 2005. Send a self-addressed-stamped-envelope to request guidelines for art and/or poetry or get the guidelines from www.womanmade.org/entryform.html Her Mark 2005 Art Prospectus - www.womanmade.org/pdfs/hermarkart2006.pdf Her Mark 2005 Words Prospectus - www.womanmade.org/pdfs/hermarkwords2006.pdf
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.net Poetry Corner I Am 
I am the small freebird I am the salmon of wisdom who I am the birdsong, no longer heard on this earth and when these beings are gone Note: In Ireland, the Peregrine Falcon is a symbol of freedom, much like the American Eagle is to Americans. It is often referred to allegorically as the freebird (left) "Year 3, Day 10", silver gelatin print by Michel Demanche Paper as Prayers by Kelly Reedy: Paper as Prayers 
Painted high above our parish church's altar was Christ, arms stretched wide on the cross in final glory. The intense expression in his eyes conveyed a sense of love, pity and guilt. An attraction to such singular images, as well as a constant desire to draw, began in my childhood. Deciding to study painting at university intensified these two preoccupations. Although being trained to work in oil on canvas, I was continuously creating colorful mixed media portraits on rag papers. While studying art history, I realized the stylized, flattened image of Christ I had admired in my youth was done in the spirit of Byzantine art. After completing a BFA in painting and drawing in 1985, a long anticipated move to Paris, France allowed me to further my education. Instinctively, wherever traveling in Europe, I sought out Byzantine and Medieval art. Many of these works were created by anonymous icon painters, mosaic and stained glass makers, cathedral builders and sculptors, others by the workshops of renowned artists like Cimabue and Duccio. All were made to be sacred. In my own studio, I began painting on wooden panels in the form of triptychs and diptychs, transforming my portraits into icons, striving to create contemporary, yet timeless images.Like a medieval apprentice who after her studies wandered for a year from workshop to workshop learning from different masters, I traveled throughout Europe making copies in museums and sketching people and landscapes. Paper played an important role as I amassed a large number of studies, easily transported back to the studio. They later served in composing new works on often larger, heavier papers of up to six feet high. Over the years I continued to use drawings just as medieval ateliers had reused and preserved their own. 
Upon moving to Singapore in 1997, my love of paper and sacred art found fertile ground in the realm of Asian folk art. I became intrigued by the uses of paper in Eastern religions and folk traditions. After discovering little bundles of printed papers stacked to the ceiling in a small shop, I learned they were Taoist ceremonial papers to be burned for the well-being of dead relatives in the after-life and for the good fortune of the living. A collection of these gold and silver-leafed papers began. Further investigation led to research on early Japanese Buddhist prints, Chinese paper cuts, and Indian popular painting. Unlike Western sacred icons, these pieces are seen as ephemeral. The act of making the image is a form of prayer, more important than the piece itself. The makers do not consider themselves artists, but worshippers. These images on paper are to be burned, rolled and stashed into religious sculptures, or pasted on windows and walls to slowly decay. The papers serve their purpose in the moment and are continuously being renewed. In comparison, Western sacred treasures are often locked away, only to be used on rare occasions. My own work changed as I began to paint, cut, and collage these "found papers" onto sheets of rice paper. Studying the traditional techniques of Chinese scrolling, I learned how to manipulate large sheets of wet rice paper in order to glue cutouts without tearing them. Equally influenced by Chinese and Japanese woodblock prints, these techniques were incorporated into my work. My icon paintings evolved into goddesses and other universal images, as I developed my own "prayer paper" drawing from a personal iconography. At the same time, my preconceived notion of the timelessness of art works was turned upside down. The attraction to Asian papers used as prayers is their transient quality, yet I have not relinquished the idea of making enduring images. The value of works of art lies not in their physical permanence, but in the ideas they invoke and the mark they leave on our imagination. Kelly Reedy is a WMG member living in Singapore. For more information visit: www.kellyreedy.com(top right) “Useless Beauty”, collage, mm on paper – 9.5" x 7" by Kelly Reedy Calendar of Events 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. 
Dinah Abram, Linda Adreveno, Eleanna Anagnos, Karen Balon, Elyse Bec, Ina Beierle, JuneFelicia Bennett, Christina Body, Mary Jo Bowers, Linda Brown-Link, Virginia Burroughs, Eleanor Caldwell, Denise Cawley, Jeanne Norman Chase, Delle Chatman, Shannon Cleary, Leslie Cogan, Idell Conaway, Daidria Curnutte, Linda Davis-Coghill, Melanie Deal, Joan Desmond, Jan Deyesso, Jude DiPaolo, Lynda Dolan, Betsy Dollar, Ann Donaldson, Henri Doner-Hedrick, Eileen Downes, Elissa Efroymson, Frances Eldridge, Anne Elizabeth, Denise Faith, Anita & David Flores, Georgina Flores, Claire Foreman, Nancy Foster, Ursula Kammer Fox, Pamela Francois, Kathryn Gauthier, Peggy Grady, Kathleen Greenholdt and Paul Coady, Paula Greer, Sarah Hadley, Karen Hamner, Andrea Harris, Birte Hella, Ellen Holtzblatt, Angela Hopkins, Lorraine Inzalaco, Marian Jones, Emily Kalwaitis, Barbara Kapp, Marie Kavadias, Catherine Keebler, Mary Keefe, Beverly Keys, Cheryl Knecht, Eileen Kroll, Phillipa Lack, Roopa R. Lawrence, Sonya Lawyer, Andrea Lazar, Laura LeDuc, Linda Litteral, Maria Lobo, Mary-Ann Lupa, Katharine Mann, Suzanne Massey, Lauren Mathews, Deborah L. McCarthy, Ashley McCoy, Mary McHugh, Karen Mendlik, Lisa Merida-Paytes, Barbara Meyer, Teri Moore, Katherine Morsbach, Janet Mrowka, Sharon Nelson Kahn, Elizabeth Neubauer, Mary O'Connell, Junko Ordonez, Patricia Park, Mary Ann Penner, Mari Neis Phannenstill, Gwendolyn Plunkett, Ruth Praser, Paula Prather, Erena Rae, Christyann Ranck Maxfield, Helen Redman, Vicki Reed, Alyce Ritti, Judith Roth, DeAnne Roth, Sally Ruddy, Martha J. Rusk, Deborah Rustin Cyr, Shirley Senior Sallas, Frances Seidman, Mary Gayle Selfridge, Selene Sepsey Grimes, William Siavelis, Gail Smuda, Carol Spicuzza, Teresa Springer, Kelly Stachura, S. Gayle Stevens, Diane Stoneman, Shirley Sullivan, Peri Irish Switzer, Anne Taft, Judy Timmerberg, Jennifer Towslee, Lee Tracy, Barbara Trentham, John and Dorianne Venator, Vicki Reed, Elaine Wagner, Eileen Wasserman, Deborah Weber and Pete Insley, Jackie White, Cleo Wilson, Sally Windle, Elizabeth York, Nancy York-Erwin, Terri Zbiral (left) “Frozen Fish”, Raku - 8" x 17" x 14” by Lisa Merida-Paytes Volunteers Thanks to volunteer Melissa Neiss and to Volunteer Coordinator Beth Shank for all their good work. Both women had to move on, Melissa into a paying full time position and Beth to New York to continue her studies. Continuing Beth’s position as is Marty Bash, who is currently volunteering one day per week. In addition Marty works part-time getting all online exhibition entries processed. We are lucky to have the help of volunteer Morgan Mills, who works every second Friday and Ed Misley who is there with energies abound every time the walls need to be prepared for the next exhibition. Mary King gives her talents freely to lay out most group exhibitions and newest volunteers Fiona McLaren and Barbara Puechler each give a certain amount of hours each week. We are very grateful for all the volunteers who help at special events and in a variety of other areas. Roberta Reb Allen, Marti Bash, Ellen Wade Beals, Janet Bloch, Monica Brown, Mo Cahill, Shannon Cleary, Brooke Demos, Nicole Gotthelf, Barbara Grzybowski, Margo Jeanchild, Mary King, Beth Laurin, Fiona McLaren, Cassie Mazziotta, Eduardo D. Misley, Courtney Mollan, Melissa Neis, Carmen Perez, Barbara Puechler, Melissa Rone, Elizabeth Shank, Laura Stempel, Wilma Stevens, Mary Stoppert, Jere Van Syoc, Cathy Tepper, Alexandra Zonis Businesses We Support
EZMAIL Services PSN - Progressive Systems Network Catalyst Ranch 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. 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. Women, Trauma and Visual Expression by Amy Stacey Curtis: Women, Trauma and Visual Expression by Amy Stacey Curtis Since 1997, Curtis has been researching the hows and whys of women artists' visual expressions of trauma. Drawing from extensive research, ambitious surveys, interviews, and personal experience, Curtis discusses trauma's anatomy, history, content, symbols, archetypes, patterns, work process, and stigma, in the context of women artists and their imagery. WOMEN, TRAUMA & VISUAL EXPRESSION compares the lives and work of nine women artists (Artemisia Gentileschi, Kaethe Kollwitz, Frida Kahlo, Eva Hesse, and five contemporaries from Chicago, Washington State, San Francisco, New Jersey, and herself, from Maine); also personal, cultural, and collective trauma; artists' connection to audience; public intolerance of trauma and "trauma art;" and visual manifestation of coping mechanisms used to survive trauma. Curtis received her MA in Art and Psychology from Vermont College, and in 2003, juried "Women, Trauma & Visual Expression," an international exhibit of work by women who have experienced trauma, at Woman Made Gallery in Chicago. TO ORDER: 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 All upcoming exhibitions with entry forms and detailed information is on the ENTRY FORM PAGE Previous Newsletters Click here to read our previous newsletters. |
June 28, 2005
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