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N E W S L E T T E R S - Winter 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 
As 2004 comes to a close, and with the new year about to begin, I reflect upon the many good things happening at Woman Made Gallery. We have a wise, energetic and hard-working board; our membership support has increased 20% in the last year; we had super success with our 2004 Spring Art Auction (and already preparing for the 2005 event to be held on April 30th); more artists than ever are entering work to be considered for WMG juried exhibitions; over 400 entries were reviewed for the 8th International Open (March 4-31, 2005); we have received almost $10,000 in grant support from the Illinois Arts Council and the Donnelly Foundation granted us $5.000; we had more Her Mark calendar sales than in any of the previous years; the Holiday Bazaar with arts and crafts by 100 women was a huge success; more devoted volunteers are helping out on a regular basis with the ever-growing workload; our circle of supporters continues to grow and we have enjoyed getting to know these exceptional individuals--their contributions in energy, art, monetary support, volunteering, advice, ideas and encouragement have brought this organization into its successful 13th year of existence. Thank you to each and every individual who is in some way connected to WMG. Your conscious participation breathes life into WMG. Two women who have given tirelessly to the growth of WMG are Janet Bloch and Pamela Callahan. The mixed news is that both of them have moved away, one into a blue state and one into a red state.... oops, no talking about colors here, even though colors make up many of our exhibitions... Janet Bloch has relocated to Indiana and Pamela Callahan and John F. Walté are building an art colony / retreat up north in Highland Wisconsin: http://ottercreekarts.com. Woman Made is honoring both women at a special event on Sunday, January 30, 2005 from 2 - 4 pm at the Gallery. "An eventful year has passed, for me personally, for this organization, for this country and for this world. There is so much conflict, so many questions. How much is my life affected by WMG, by the things that happen in this country and in this world? How much influence do I have on the events around me? I see the answers to these questions visually, like a pebble thrown into a stream: the waves the pebble creates are most profound towards the center, but they are far-reaching nevertheless. I wish for all of us to become more conscious of the effects our thoughts and deeds have on this world and on each other, each and every day of our lives. Thanks to participation and support from so many people nearby and far away, WMG is enriched and strengthened, as are the individuals who work here. We acknowledge these waves of support by continuing our work here at Woman Made. Whatever physical distance you might be from WMG, your presence is known and felt, and we invite you to join us in celebrating the power of expression in this new year. (right) "The End is the Same", painting by E. Featherstone Hoff  Board & Staff News We are very happy to welcome our newest board member, Carmen M. Perez. Carmen is an artist, an adult educator for Chicago City Colleges, and Vice-President of Stoppert Perez Ltd, an arts and antiques business. Carmen received her B.A in art from Northeastern Illinois University. She exhibits her jewelry, sculpture, and drawings in galleries, art and craft fairs, and expositions, in the U.S and Canada. Her work can be viewed at her website. Letters to WMG Subject: Gender Issues and Museums Hello, My name is Isabel and first of all I wanted to congratulate you for your excellent website! I am Spanish and am interested in studying Spanish language museums from the gender perspective by putting the stress on how their websites discriminate against women or on the contrary how they are including gender-related issues in their design and approach. I think there is a remarkable lack of info on this regard, and I wondered whether you could recommend me any work, study or model website that I could use as a reference. I am using some American museums as models but do you know if there is any major study on this? I thank you for your time and interest and I appreciate your help very much. -Regards, Isabel Bernal 
Dear Isabel Bernal, great and worthy project you are working on, but we are not aware of any existing study done on this unless it's a marketing study, because really, who cares what women think about anything, unless they can make money off of us! I think if you explore smaller arts institutions there are more female friendly sites. Sensing this to be true we went to two sites - The South Bend Regional Museum of Art (www.sbrma.org) and the Kohler Center in Wisconsin (www.jmkac.com) and both seem fairly female friendly, colorful and easy to navigate. We certainly can't think of anyway to research this except to go to different museum sites. One way to determine how woman friendly an organization/website is shows probably how inclusive they are of women's art. WHO is in their permanent collections. The more equality is there, the more they will include gender-related issues in their design and approach. Here is the site of the Mexican Fine Art Center Museum in Chicago: http://www.mfacmchicago.org Other Museum sites can be linked to from here: http://www.amn.org/museums_000.html. I wish we could be of more help Isabel, but maybe you can let us know what your findings are. -Warmly, Beate and Janet Dear Beate and Janet, Really many thanks for your useful and long email; the truth is that the more I study this issue, the more interested and upset I am, as you say who cares for women! Thanks for the links, they look very useful. A pair of projects that I think will very highlighting in this sense will be the National Women’s History Museum to be placed in DC soon (http://www.nmwh.org/home/home.html), as well as the International Museum of Women in SF (http://www.imow.org). As you can imagine, regarding Spanish language museums, the reality is more depressing, since to begin with, many museums don’t even have a website, and when they do, there is an appalling lack of women and gender-related scope. I mean, why if there are education programs for the children, students, the family, the disabled, the elderly, the blind, the teachers and so on no museum has something similar for and about women? In the case of the museums in Spain and Latin America, I have the feeling that this is a reflection of the deep-seated macho culture to a great degree. I sincerely appreciate your help and interest, and will keep you posted. -Best regards, Isabel Worthy Organization 
Chicago Women's Liberation Union (CWLU) Out of the upheavals of the 1960's came a group of Windy City women determined to challenge the suffocating male supremacy of the time. They joined the growing women's liberation movement and organized the Chicago Women's Liberation Union (CWLU), which touched the lives of thousands of women through its many organizing projects from 1969-1977. "Never doubt that a small group of thoughtful, determined citizens can change the world. Indeed, it is the only thing that ever has."—Margaret Mead. "We say that a small group of women can make mountains move. That was the lesson of CWLU workgroups in health, education, employment, and gay rights, to name a few. There we created the ideas and actions that helped women liberate each other from oppressive beliefs and old social habits. Now we are sharing our history on the Internet to inspire new generations to continue the struggle for justice and equality. Please visit www.cwluherstory.org for more information. Memory "People age and die, things disappear: eventually everything survives only through memory." from The Essential Duane Michals, Marco Livingstone. 
"As people age, one partner may be healthy while the other person loses their memories. As a freelance photojournalist who works in healthcare, I have used my photography to give a voice to the positive, compassionate spirits of people who day after day make life better for others, however insignificant their actions might seem to those around them. My father, age 87, enables my 84 year old mother, who has a chronic, terminal condition, to continue living in their home of 52 years. When I visit them, we always return to our favorite picnic area at Fort De Soto County Park. The park, with its views of Tampa Bay and the Gulf of Mexico, is a peaceful place to relax." WMG member, Karen Schreiber is a family nurse practitioner and photographer based in Palo Alto, California. She specializes in fine art and documentary photography. Karen uses a Leica rangefinder to quietly, unobtrusively, photograph in available light. She is skilled at meeting people and quickly gaining rapport, which results in photographs that capture the essence of her subjects. Karen is currently photographing the Herzog-Sachs family whose child, Sophia, has a rare, terminal, genetic disease, Niemann Picks Type A. The family has created a foundation, www.sophiasgarden.org whose goal is to educate and to inform others about a new approach to healing. Please contact Karen Schreiber at 650-493-5230 or through www.kpsphoto.com (right) "Memory 2004", c- print photography by Karen Schreiber Circle of Confusion 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. 1741 N Western (basement of ACME) Special Thanks To... (Please check our next newsletter if your name is not yet included here) 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, by a Donnelley Foundation grant and by the generosity of its members and contributors.
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
Susan Pritzker - $750.00 Sally Ruddy - $500.00 Robin Malpass - $284.00 Jean Cozier - $250.00 Dana Daydodge - $200.00 Suzan Guenthner - $200.00 Roberta Reb Allen - $160.00 Rhonda Wheatley - $135.00 Anita and David Flores - $100.00 A Woman Artist You Should Know: Niki de Saint Phalle : A Woman Artist You Should Know: Niki de Saint Phalle 
Not many artists create a perfume but such was the case for Niki de Saint Phalle. Born Catherine Marie-Agnes Fal de Saint Phalle, in 1930 in France, to a wealthy banking family that soon went broke, Niki and her family moved to US, returning to France to visit grandparents in the summers. In the 1940s, the family, strict Catholics, lived in New York City and Niki was kicked out of a few schools before graduating from a private all-girls school. In the late 1940s until the mid-1950s, Niki was a fashion model, appearing in Vogue, Life, and other French and American magazines. At 18, she eloped with Harry Mathews. He was a music student at Harvard (though he went on to become a writer) and she began to paint. They had a daughter in 1951 and traveled through France, Italy, and Spain, visiting museums. In 1953, she was hospitalized in Nice for a nervous breakdown and rediscovered art as her therapy and her vocation. In 1955, her son was born and around this time Niki also became deeply affected by the work of Antonio Goudi, especially Parc Guell in Barcelona. On her return to Paris, she met sculptor Jean Tinguely and asked him to weld an armature for her first sculpture. While in France, she was inspired by the works of Matisse, Rousseau, and Picasso and the architecture of Joseph Ferdinand Cheval, especially Le Palais Ideal. Along with paintings, her early work included extensive tableaux (such as "King Kong") that were the stuff of childhood nightmare and female oppression, including dragons, monsters, brides, and mothers on an altar-like frieze. In the 1960s, her main influence was kinetic sculptor Jean Tinguely and the Nouveaux Realistes. It was at this time Niki produced her shooting paintings, or tirs, in which paint was encapsulated in plaster pouches, which were shot with a rifle or gun to let the paint disperse and splatter. This art world was spoofed in the 1963 American comedy "What a Way to Go" in which Shirley MacLaine discovered for her artist husband (Paul Newman) a way to have machines paint to music (à la Tinguely) and included a scene in which the actors shoot at canvasses with rifles (à la Niki de Saint Phalle). In 1960, she and Harry Mathews divorced. Making their first appearance in the early 1960s were the Nanas, outrageous earth mother figures made out papier-mâché, yarn, netting, and cloth. When she wanted Nanas that could stand outside, she began making them out of plastic and polyester, unaware the material would cause lung damage. Her first retrospective "Les Nanas au Pouvoir" was organized at Stedelijk Museum in Amsterdam. "Nana Dream House" and "Nana Fountain" have architectural and functional design aspects. One of her most famous is Hon, a 20-foot high, 82-foot long walk-in Nana at the Moderna Museet in Stockholm. Patrons enter between the legs of this reclining female form and find inside a bar, aquarium, planetarium, and a 12-seat cinema showing Greta Garbo films. 
Other significant public commissions include the Golem in Jerusalem, the Stravinsky Fountain for the plaza of the Centre Pompidou in Paris (on which she collaborated with her second husband Jean Tinguely), "L’Ange Protecteur," a 33-foot high angel commissioned for the rail station in Zurich, and a sculpture ("Le Paradis Fantastique") for Expo 67 in Montreal (later installed at Modern Museet). De Saint Phalle’s "Sun God" was her first piece in the US; the 14-foot bird sits atop a 15-foot concrete arch at the University of California at San Diego (part of the Stuart collection). Niki de Saint Phalle designed costumes and sets for ballet and theater as well as jewelry. She wrote films and books, including AIDS—You Can’t Catch It By Holding Hands (along with Silvio Barandun). In 1970, she started making large polyester "Heads," reminiscent of the Easter Island statues. In the late 1970s, she began work on the Tarot Garden in Tuscany, Italy, and would live and work there for 20 years. The Tarot Garden is like the centuries-old fantasy gardens at the Villa d’Este and Bomarzo and Goudi’s more recent Parc Guell. The Tarot Garden features her "Skinnies," linear totem-like sculpture-drawings, which are composed of round snake-like shapes and show only an outline of a figure. She referred to these as "air sculptures" which also reflected her personal need for air since she began experiencing symptoms of lung damage. In 1982-1983, Niki created a fragrance that bears her name for the Jaqueline Cochran Company in New York, designing the blue and gold bottle and the packaging logo of entwined serpents. The money from the perfume was used to finance the Tarot Garden, which officially opened in May 1998. In the book, Niki de Saint Phalle My Art, My Dreams, the artist’s colorful illustrations cite her inspirations, which include concepts big (justice, feminism, demons, the absent) and small (paths, hands, chicken wire, a fear of the moon) and artists such as Dürer, Mondrian, Picasso, Matisse, Pollack, Calder, as well as Henri Rousseau, who, like her, had no formal education in art. Regarded by many as an Outsider Artist, Niki de Saint Phalle moved to California in the late 1990s and died in 2002. Ellen Wade Beals is a WMG member, writer and poet. (right) "Fire Bird", sculpture by Niki de Saint Phalle HER MARK 2005 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 still available for $10 each plus $2 shipping per datebook: www.womanmade.org/calspecial.html
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 The painting is devoted to people who lost their loved ones in terrorist attacks, especially to those mothers who lost their children in the school bombing at Beslan, Russian, on September 3rd, 2004. It is to apply visual language of painting to express sympathy to the lost lives and the anguish, the grief and unspeakable pain. The Grief 
Like fragile autumn leaves Tender as roses The lighting shook the sky *For all the women *Quote from the Poem by Molly Repard (right) "The Grief", acrylic on canvas by Ying Guo Absolution (11/3/04) Am I absolved Nothing except feel But I could not stop No, I could not do these things… Call for Poetry Woman Made Gallery is seeking submissions for a reading to take place on Sunday, February 13, 2005 during the Devils and Dolls exhibition. Submissions should be based on the theme of the show - Devils & Dolls. All submissions will be juried blindly by Chicago area poet Arlyn Miller who is also hosting the reading. Please send three to five poems to Lauren Mathews at womanmadepoetry@hotmail.com by January 21, 2005. Notifications will be sent on January 30, 2005. ALL POETS ACCEPTED FOR THE READING MUST BE ABLE TO PERSONALLY READ IN CHICAGO AT WOMAN MADE GALLERY ON FEBRUARY 13, 2005, FROM 2 – 4PM Included poets may sell chapbooks or collections at the reading. Questions may be directed to Lauren R. Mathews, WMG poetry coordinator, at womanmadepoetry@hotmail.com Woman Made Gallery I Want to Be an Artist When I Grow Up : I Want to Be an Artist When I Grow Up 
I can remember being three years old and telling my grandmother that I wanted to be an artist when I grew up. I am now fifty-seven years old and I still want to be an artist when I grow up. Like many another potential artist, I was pushed towards doing something more "practical" and therefore trained as an art teacher. It wasn't hard time. I loved going to university and after five years emerged with a Bachelor of Education degree with a double art major in painting and graphics. I taught for a brief time but then began to slowly develop a career as a commercial artist. It still wasn't what I really wanted to do, but it felt closer than teaching high school did. Over the years my commercial career included everything from illustrating posters, magazines and books to designing logos, letterheads and marketing materials. Along the way I developed a secondary career as a writer because I discovered that with magazine illustration you were more likely to get the illustration job if you could write the article as well. Some of the commercial work was fun, most of it was challenging, but while I learned some useful lessons along the way and felt that I was improving my technical skills, I was also becoming more and more frustrated. However engaging the project, it was always "other directed". Other people were making the decisions and I was carrying out the work at their direction. During those years my own work was pushed to the side and delved into when I had that rare commodity, "spare time". 
My own personal "wake up call" came when I started to have eye problems. I am now on the other side of one round of cataract surgery and two rounds of surgery for detached retina. I will likely need cataract surgery on the other eye within the next year or two. Nothing could make me more aware that the vision we take for granted is a wonderful gift. Nothing could have given me such a strong appreciation that time is passing and that if I ever want to concentrate on my own work and pursue my own vision, I need to do it right now. These days I am back teaching---adults this time, which is great fun---but my concentration and the majority of my time is focused on my own art. The greatest gift that any artist has is her own unique vision of the world. You have to be willing to spend the time and attention it takes to develop it. One of the great lessons I learned from my commercial career is that if you want to get anything done you need to get methodical about it. Set time aside to work on your art every day. Forget about "feeling creative" or being "in the mood" and just go and work because it is 9 o'clock and that is what you do at that time of the day. Perhaps because of my time in the commercial world, I constantly notice that the media and the larger culture attempt to give us a picture of the world, a sense of what is "normal" and expected. I am reminded of Hans Christian Anderson's story "The Emperor's New Clothes" and of the Wizard of Oz. Just don't look behind that curtain! I like to use humor, visual and verbal puns, changes in scale, odd juxtapositions, reflections and mirror images to play with ideas and to facilitate a change in perspective and perception. My "Chicks" series of paintings is all about questioning. What exactly is a "chick" and why is it that we carnivores prefer our meat cut up in pieces, packaged in plastic wrap and as unrelated to a living animal as possible? Is there some strange connection between images of women and images of food? We get so used to our landscapes of meaning, language and hierarchical structure that we no longer see them or examine them. A chicken---not a barnyard creature but one very much from the supermarket---sits on a chair or gets help taking its first steps. The images are both humorous and disturbing. Why does it make us so uncomfortable? My newest series features bus stops. I became fascinated by watching people at bus stops, all waiting in their private spaces, purposefully oblivious to the larger world around them. I began to wonder how many strange creatures could populate the bus stop area before anyone would notice. Perhaps they are intentionally ignoring the obvious (unlike the rest of us). Maybe it is another Wizard of Oz fixation. We're not in Kansas any more! Moira Carlson is a WMG member from Canada. For more information visit: www.moiracarlson.com (right) "Self Portrait: No Spring Chicken", acrylic on canvas by Moira Carlson 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.
Dora Aalbregtse, Judith Adams, Julie Adriansen, Elizabeth Alfano, Roberta Reb Allen, Bernice Allison, Aviva Alter, Carolyn Anderson, Judith Anderson, Nell Angelo, Caryl Anselmini, Barbara Aubin, Julie Ann Ausbrook, Laura Bacon, Mary Bacon, Melissa Banks, Lisa Barcy, Kim Basile, Ellen Wade Beals, Elyse Bec, Sylvia Betts, Laura Black, Denise Bonesteel, Elizabeth Bowles, Sherry Brenner, Kay Lee Brinker, Nancy Buik, Fran Bull, Cathy Ann Burgess, Juli Burke, Mary Burke, Lauri Burrier, Catherine Cajandig, Karen Campbell, Catherine Cella Neapolitan, Esther Charbit, Rose Ann Chasman, Mary Ruth Coffey, Melanee Cooper, Jean Cozier, Dana Daydodge, Anita Cross Friedman, Mary Ellen Croteau, Stephanie Cunningham, Amy Stacey Curtis, Donna Daly, Alice Dan, Suzanne Davenport, Karen Deighan, Brooke Demos, Selena Derry Awoleye, Patricia Devine-Reed, Maria Christina Dias, Rosie Dixon, Sheila Donovan, Rachel Dow, Debra East, Jennifer D. Edwards, Dianne Efsic, Karen Egerer, Marcia Eisworth, Donna Jean Engstrom, Theresa Fernandez, Penny Feuerstein, Sheila Finnigan, Paula Franzini, Indira Freitas Johnson, Sadie Gerbic, Janet Gerske, Pegi Gibson, Billie Giese-Vella, Eileen Goldenberg, Linda Green, Susan Guenthner, Naomee Guest, Rhonda Gushee, Mary Haag, Shana Hampton, Cam Harper, Becky Hartney, Nancy Elaine Harvey, Sarah Hauser, Constance Heimann, Leila Hernandez, Lori Ann Hess, Margaret Holmes, Dana Holst and Lars Townsen, Kristen Holub, Deborah Hughes, Claudette Irvine, Rhona Jacobs, Indira Freitas Johnson, Kristen Johnson, Laura Jones, Makeba Kedem-Dubose, Barbara Keim, Michele Kellner, Deborah Kelly, Helen Klebesadel, Rosalie Koldan, Nancy Koprowski, Mara Krumins, Julie Laffin, Masani Landfair-Muhammad, Mavis Leahy, Linda Lemon, Debra Lepage, Francesco Levato, Bert Leveille, Chris London, Bonnie Lopez, Rosemary Luckett, Sheila Malloy, Robin Malpass, Regina Maniaci, Stephanie Marder, Barbara Marder-Gately, Elaine Mari, Elizabeth Marino, Betsy Martens, Jacqueline May, Cassie Mazziotta, Lisa McDonald, Fiona McLaren, Elizaveta Meksin, Elizabeth Meyer, Roberta Mezinskas, Margaret Dubay Mikus, Ellen Miles, Denise Milito, Arlyn Miller, Cybele Moon, Judith Schubert Mullen, Beth Murphey-Steffen, Rim Nachawati, Jean Nevin, Regina Noakes, Sharyl Noday, Niki Nolin, Lesley Nordhem, Cathy Norris, Connie Noyes, Lenore Orlowska-Warren, Alexandra Paez-Quijano, Staci Page Oien, Jacqueline Patinkin, Jean Patton, Barbara Paxson, Elizabeth Paxson, Jean Perkins, Deborah Pipes, Renata Prell, Susan Pritzker, Joohyun Pyune, Karen Rechtschaffen, Ann Regan, Tatiana Revskaja, Susan Rice, Juanita Richeson, Eva Roa, Catherine Rocca, Melinda Rose, Caren Helene Rudman, Michelle Samour, Anne Schaaf, Deborah Schlouch, Elizabeth Schraft, Jennifer Schwartz, Suzanne Scott, Kerry Shea, Jeong-Eun Shim, Laura Shubert, Ruth Sikes, Violetta Simov, Zareen Sirajullah, Rebecca Sive, Susan Skolfield, Marlene Skolnik, Kitty Slattery, Rachel Slick, Judith Smith, Katharine Smith, HeleneSmith-Romer, Terri Snider, Maria Spargur, Erika Sprister Lizée, Nena St. Louis, Rosa Maria Staben, Ann Starr, Jenny Steinman Heyden, Andrea Stivers, Solvei Sullivan, Karla Sunn, Susan Tecktiel, Cathy Tepper, Elsbeth & Otto Thilenius, Marcia Thompson, Marilyn Turner, Sharon Uselman, Gale Vance, Johanna Patricia Vargas, Liz Vercruysse, Petra Voegtle, Constance Vogel, Jeane Vogel, Susan Wade Elster, Deborah Weber, Jennifer Weigel, Lolita Westbrook, Rhonda Wheatley, Gail Willert, Ann Willey, Judith Winn, Martha Zackey, Kim Zoph Volunteers 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. Roberta Reb Allen, Marti Bash, Ellen Wade Beals, Janet Bloch, Nicole Gotthelf, Barbara Grzybowski, Nancy Elaine Harvey, Connie Heimann, Mary King, Eduardo D. Misley, Melissa Neis, Carmen Perez, Barbara Puechler, Karen Rechtschaffen, Eva Roa, Elizabeth Shank, Zareen Sirajullah, Laura Stempel, Mary Stoppert, Wilma Stevens, Alexandra Zonis Ornament Contributors We thank all of the women who have donated their ornaments during our Holiday Bazaar. It not only raised funds for WMG but it also helped to make the Gallery look extra festive. Mary Ann Anthony, Martha Castillo, Jean Cozier, Marcia Eisworth, Georgina Flores, Nicole Gotthelf, Barbara Grzybowski, Cam Harper, E. Featherstone Hoff, Sarah Hauser, Missy Isely-Poltrock, Shelly Jyoti, Barbara Miller Kapp, Sonja Kruitwagen, Mara Krumins, Velga Malek, Regina Maniaci, Cassie Mazziotta, Roberta Mezinskas, Margaret Dubay Mikus, Lenore Orlowska-Warren, Barbara Paxson, Jessica Roble-Cinelli, Susan Skofield, Kitty Slattery, Rachael Slick, Laura Stempel, Wilma Stevens, Susan Tecktiel, Deborah Weber, Gail Willert (right) "Figures (from a group of 12)", stoneware by Sigrid Zahner 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. 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.
"In creating The Living Breast, my goal was to draw upon my passion for art, my advocacy for healthy living and my desire to support breast cancer awareness. In the end, breast cancer affects all of us. It takes away so many great women, the great loves in our lives. I sent a single email to friends and the responses began pouring in. The Living Breast came to life. Within one week, I had 27 women scheduled for painting; their individual experiences with breast cancer and body image would forever change me and give me even greater passion for this project. Aside from the incredible images, the real beauty of this achievement is in the intimacy of the painting sessions, where I experienced an incredible sense of collaboration. I am grateful to be able to use my talents to help people in need. I consider myself a vehicle of expression, and I get excited by the ideas that come to me. I consider my artistic ability my greatest gift and I am thankful to give it back to the world in this calendar, doing what I can to help all individuals fighting breast cancer." WMG member Denise Milito is a design graduate from Michigan State University, who understands that art education is a daily discipline. Her work spans jewelry design and soap making, mosaic art, floral art, body painting and more: www.tortoiseplay.com - Josh Gormley, Photographer (leftt) "Page from the Living Breast Calendar" by Denise Milito 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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