Hello Art lovers A great article about the current show at the gallery.... Come see the show at the Christine Frechard gallery 5126 Butler street. Pittsburgh PA. 15201 Congratulations Gail to be part of it ! View this email in your browser <https://mailchi.mp/a31d27906a10/smart-collecting-at-the-local-level-and-the-ultimate-teaching-challenge-1324670?e=e96af1d113> *Amy Sillman, So What? A Tribute to Paul Klein, and Cornflakes for My Dad* What could be more fun than beginning the week with a rant? A few of you recently posted critic Jason Farago’s *valentine <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=0643d57626&e=e96af1d113>* to Amy Sillman in *The New York Times* on social media. This is Sillman’s moment, he declares, in a swooning prologue, followed by a Q&A with the artist. Her “dynamic, agitated improvisations, on both canvas and paper, reaffirm her leading role in reviving the fortunes of gestural abstract painting,” he writes. “Now she has helped lead the charge over the last decade for a reinvigorated mode of abstraction,” In passing, he notes her curation of a show titled “The Shape of Shape” at MoMA toward the end of 2019, calling it a “big hit.” I described it in the first V21 newsletter of 2020 as looking “like an indoor yard sale, though the goods happened to be art, laid out helter-skelter on the walls, on pedestals, and on a low-lying shelf.” In other words, I didn’t see what all the hubbub was about. It was a confusing show, period. As I’ve freely *confessed before <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=b0bcf3a761&e=e96af1d113>*, I really don’t understand the machinations by which particular artists are anointed superstars. I like to think it’s a small cabal of critics and curators who ignite some kind of buzz at dinner parties in the East Village or the Hamptons (but as we know from *New York <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=660b5a1f15&e=e96af1d113>magazine <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=104c41c0ac&e=e96af1d113>*, even before Covid-19, Jerry Saltz, an indisputable king and queen maker, said he hated dinner parties). My grievance is simply this: I see an awful lot of good abstract painters who are members of this site—some of a gestural inclination, some more disposed toward geometry, some who might be labeled post-minimalist. I’m pulling out a few who follow in the footsteps of the great AbEx innovators like Willem de Kooning, Joan Mitchell, early Helen Frankenthaler, and others. I’m picking out three, almost at random, because they happen to stick in recent memory. I don’t understand why Sillman is particularly superior to any of these artists, but I do know geography often plays a part (Brian Shields is in Taos, NM; Irene Nelson in San Francisco; and Gail Winbury lives in East Orange, NJ). They are simply not on the radar of the critics and tastemakers in Manhattan. But maybe they should be. Just sayin.’ That’s all. Brian Shields*, Hondo* (2017), mixed media on canvas, 96 by 90 inches Gail Winbury, *Moment by Moment *(2020)*,* oil, graphite and Conte crayon on Arches paper, diptych, 30 by 49 inches Irene Nelson,* Backbeat* (2019), acrylic and mixed media on wood panel, 48 by 48 inches On a profoundly sad note, I learned of the death of Paul Klein last week, a former dealer, artists’ coach, impresario, and mentor to many. I was not familiar with his webinars, but as I was launching Vasari21 about five years ago, he asked me to be one of the guest visitors to a group of 20 or so artists. After delivering my pitch, about 15 signed on to this nascent site. During last year’s fundraiser, he offered a matching grant and even more people became members. He was tremendously supportive of Vasari21, as he was of artists. And yet I know very little about his background (we were supposed to do a podcast in March, and then the UNM radio studio, where I do the recording for interviews, shut down because of Covid-19). He staged a heroic battle with cancer for six years but continued to stay in touch with his acolytes and conducted regular webinars and coaching sessions. As for his impact, let me quote a few of the artists in his orbit. “I took Paul's Klein Artist Works seminar in 2012,” writes James Deeb. “The man I got to know then was brash and brutally honest. Paul had no problem calling out someone's bullshit. A year or so after the seminar, I learned that he had been diagnosed with terminal cancer. He still met with a group of us every month, but he kept the information to himself for the most part, focusing on his work with us. And that work slowly transformed from a job into a purpose. Paul had been given six months to live, and he could have easily retreated into despair. Instead, he conducted more seminars and continued to help the people he cared for the most: artists.” "Paul talked about wanting to give more, then found ways to do it,” says Kate Petley. “This example is more powerful than anything. It’s about love. Love of life and the goodness he saw in people, his love for his family, for art and the artists. He was trusted because his integrity was solid. He was uncompromising. He saw our weaknesses but ignored them in favor of his vision for us. He dreamed up big ideas for our work and convinced us he was right. In doing that, he gave many of us a future we couldn't see on our own.” Kate Petley and Paul Klein “He laughed hard, spoke loudly, and had a very quick mind,” writes a West Coast artist who asked not to be identified. “Bursting with energy and enthusiasm, he represented, nurtured, and mentored many. My most memorable time with him was after a friend's opening at his gallery, he drove us across town, gunning it at every opportunity, honking and swearing at other drivers. Manic, but with the intentions of the angels, he was a force to be reckoned with. And now, sadly, he has left us for the great unknown. Still, I'm quite sure, a force to be reckoned with.” “Mentoring artists all over the world, he will be remembered for his generosity and always urging others to be generous,” writes Rhonda Smith. “He managed to be both relaxed and demanding, wanting artists to think outside any boxes in which they found themselves. whether in their studios or presenting themselves to the outside world. When he was stricken with cancer a few years ago he continued to bike 17 miles a day and to coach. Many artists experienced his courage and great positivity during this period. In these days of Zoom, one thinks little enlightening can happen. But through the screen he shared this process of dying and its counterpoint, a great vivacity and deep appreciation of life.” “I arrived completely fresh to Chicago, not knowing a soul, personally, or on the art scene,” writes Jane Barthes. “Amy, Paul's wife, happened to accompany someone to my studio back in 2016. I remember her saying, 'You should meet my husband.' She left and it wasn't until some 18 months later that I joined Paul's course. That is where I made new friends in Chicago and around the world! I still meet (three years on), with artists from New York, Santa Fe, Brazil and Chicago every Monday evening to discuss art and everything else. Beyond introducing me to community, he encouraged me to organize a pop-up, every aspect of it, from start to finish back in 2018 in an old factory.This was a huge learning curve and felt like a very brave thing to do. He has been supportive and challenged me to be my best. He was tough, arrogant, and charming all at the same time.” Jane Barthes and Paul Klein I’ve kicked around the art world and its fringes for quite some time, and I have never met anyone who inspired this kind of affection and respect. Hats off to you, Paul Klein, wherever you are. I have no new editorial for you this week because I have been writing book reviews. But I do have another installment of “Eat My Memoir” and a new website devoted to this project, designed by the formidable artist and webmistress Sandra Filippucci. Have a look at *the site <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=566f0652d0&e=e96af1d113>* and the latest story, “Corn Flakes and Stir Fry,” for more pics of me and the fam and the food. (Give it a moment to fully load.) In the middle of next week I will also start reaching out to you individually, if you haven’t contributed in a while, to keep this site up and running for the near future. Here’s the *official pitch <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=92cffbf28c&e=e96af1d113>*, which hasn’t changed much since last year. And my thanks to all of you who have sent donations ahead of the annual drum banging. *And now on to the best news of the week, possibly the only good news of the week….* Gail Winbury, one of whose works is featured above, has a show called “Another Way to Speak” at Christine Frechard Gallery in Pittsburgh, PA, through November 15. “This exhibition references the power of visual language to express the landscapes of emotion and psychology,” says the announcement. “The show includes oil paintings created in the last seven months as part of the ‘Pandemic’ series, as well as oil paintings and collages from the last three years. Winbury, says critic Lilly Wei, is ‘a brilliant colorist’ who draws the viewer to a place of shared recognition.” Gail Winbury, *Arabesque* (2020), oil on Arches paper, 30 by 22 inches “I make paintings of super-tall and iconic building construction projects around Manhattan, working in series that can span months or years,” writes Gwyneth Leech. “I became fascinated with the construction of One Vanderbilt (OVA) in 2017 as the structural steel began rising above ground level. In celebration of the completion of the tower in this fall, I am presenting an online exhibition of 19 paintings, done from a variety of sidewalk locations in East Midtown over the last three years.” The show can be seen online, with a two-minute long automated guided tour, *here. <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=83a374de44&e=e96af1d113> * Gwyneth Leech, *OVA Reaching Completion* (summer 2020), oil on canvas, 36 by 18 inches “I am particularly pleased to be showing a group of paintings in a public library, especially one as nice at the Mulberry Street Branch of the New York Public Library in Manhattan,” writes Annie Shaver-Crandell. “My first conscious memory is of looking at the pictures of a book I could not yet read, *The Pirate's Apprentice.* There is nothing particularly literary, however, about the works in this exhibition. I thought we could all use some added light and color during the dark days of winter. I chose these oil-stick drawings and oil paintings for their vibrant seasonal colors and essentially floral subjects, and because these two mediums are relatively impervious to long exposure to the light so necessary for the other functions of a public library.” Hours and occupancy at the library are limited, but you can find out more *here <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=8eb311f44e&e=e96af1d113>*. The show continues through the end of the year. Annie Shaver-Crandell, *Water Lilies, Farmer’s Pond, Kendal at Oberlin* (2006), oil on canvas, 24 by 24 inches Though December 10, Andra Samelson—along with several other Vasari21 artists I haven’t heard from—is part of “Pandemic Proof,” an online exclusive presented by Odetta Gallery and the SHIM art network on Artsy.net. “*’*Pandemic Proof*’ *is an exhibition first and foremost that presents the fact that artists are going to continue to make their work if given the time and some space to create,” writes curator and director Ellen Hackl Fagan. “Secondly, it’s clear that viewers want to follow the artists and continue to support and engage with artwork. By creating a digital space for artwork, we are developing a new platform for artists to exchange ideas with one another, expanding into a global community, while generating opportunities for future collaborations with each other.” You can check out the whole show—including works by Lisa Pressman, Leslie Kerby, Lizbeth Mitty, Patricia Miranda, and Kathy Cantwell—at this *link <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=ff921b52e1&e=e96af1d113>* . Andra Samelson, *Up in the Air* (2020), acrylic on canvas, 24 by 24 inches Speaking of Leslie Kerby, the artist has curated a show called “We Are Your People, Now” at Project: ARTspace at 99 Madison Avenue <https://www.google.com/maps/search/99+Madison+Avenue?entry=gmail&source=g> in New York (though November 20). The exhibition features “paintings, prints, and a video chapbook by artists Kim Sykes, Karen J. Revis, and JoAnne McFarland,” says the press release. “All three artists’ work is deeply rooted in the communities and dynamic multi-generational families from which they hail—Sykes originally from New Orleans; Revis from Washington, D.C.; and McFarland a native New Yorker….While each of the artists reflect upon Black Lives Matter, Revis most directly speaks to the energy and urgency of protest through her prints—a medium long associated with social justice. Here, along with Sykes’ self-portrait, we are lit on fire with the faces of black men set within moving target-like shapes, collaged elements such as bullet-proof vests and guns. In talking about her work with curator Leslie Kerby, Revis said she was listening to 70’s music in the studio, particularly Roberta Flack’s *Tryin’ Times*. ‘Tryin' times, yeah, that's what the world is talkin' about. You got confusion all over the land.’” More information on the show is *here <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=b320f46dbb&e=e96af1d113>* . JoAnne McFarland, *Selfie with Swiss Chard* (2020), oil on wood panel, 30 by 40 inches If you’ve been following Carolanna Parlato on Instagram, you have probably seen shots of her drop-dead gorgeous installation at One New York Plaza, sponsored by Arts Brookfield and curated by Tom Kotik. “Created by pouring brilliantly colored paints in layers, directly over flat canvases, then adding undulating connecting lines, Parlato reveals playful forms that emerge from the natural flow of liquid pools of pigment,” says the *website <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=fd12775b05&e=e96af1d113>* for the installation. “These organic shapes and lines create a rhythm within the work that can be seen as an allegory for the pulsating tidal movements and energy of the ocean. Scanned and enlarged to architectural scale, Parlato’s paintings surround visitors in currents of bright color that playfully dance across the walls of the concourse level like giant luminous waves.” The site is open to the public on weekdays and can be reached by subways to lower Manhattan and South Ferry. (The photo below is by Andrew Moore, courtesy of Brookfield Properties NY.) Krista Svalbonas has two shows in the works this season. The first, called “The Altered Image: Women Telling Stories by Combining Photography with Mixed Media” is at the Dina Mitrali Gallery in the Miami Design District. “’Altered Image’ is an exhibition of women artists who use the photographic medium as a departure point to tell their stories,” says the announcement. “Each of the 21 artists adds multiple layers of meaning to the work by manually manipulating the image with paint, drawing, embroidery, collage, organic ingredients, and transfers to various found materials. The resulting works depict diverse symbolic alterations, which illustrate unique and textured visual narratives.” (Through October 30.) Meanwhile, at Klomching Gallery in Brooklyn, NY, Krista has a solo from October 21 through December 19. The show surveys her recent projects, incorporating mixed media, painting, three-dimensional sculptural pieces and photographs that use laser cutting. “As the child of parents who arrived in the United States as refugees, ideas of home and dislocation have always been compelling to Svalbonas,” notes the gallery. “Her work explores this theme, with architectural structure serving as the anchor around which she explores family history and subsequent personal identity in relation of ‘place’. Project titles such as ‘Displacement,’ ‘Migrants,’ ‘Migrator,’ and ‘In The Presence of Memory’ are seemingly simple pointers to a subject that is layered and complex.” Krista Svalbonas, *Migrants 24* (2014), pigment print and collage on board, 14 by 14 inches Pamela Casper is part of a show called “ecoconsiousness” at ecoartspace, a membership-based platform for artists addressing environmental issues since 1999. “What does it mean to have an ecoconsciousness?’ asks juror Eleanor Heartney. “The works here offer multiple answers to that question. Ecoconsciousness measures our interconnectivity with the natural world. It celebrates our links to the animals with whom we share the planet, to the trees, fruits, vegetables, herbs and insects that make life possible, to the land and waters that bear witness to our best and worst impulses and to the ecological systems that sustain us all. It encompasses our awareness both of the beauty of nature and the devastating horrors created by our efforts to exploit it….And it poses questions about our place in the cosmos with wit, sorrow, anger and hope.” The fall 2020 and online billboard show can be seen *here <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=5720227b67&e=e96af1d113>*, along with the catalogue that accompanies the show. Pamela Casper, *Root Ball* (2017), watercolor on Arches paper, 30 by 22 inches Through November 20, new member Rebecca Johnson is part of “Landmarks—Drawing Light” at Sculpturesite Gallery in Glen Ellen, CA, described on the website as “a dynamic collection of outdoor garden statues and kinetic sculptures—from garden-sized to monumental—displayed throughout the beautiful grounds of Jack London Village in Sonoma County.” Johnson says her project comprises “six stone ‘barns’ carved from a hexagonal column of solid basalt.” For many years the artist studied and explored barns in the rural landscape. The architectures’ various states and changes define our rural history and land use. “The sculptures have a distinctive contemporary yet ancient feel,” she writes. “Cut windows and doors invite the viewer into the stone’s interior. In these most recent works created during the isolation of ‘sheltering in place,’ the small sculptural shelters took on an even more poignant significance.” The addition of universally symbolic shapes, such as ladders, chairs and, on one work, a Caryatid shouldering the weight, she adds, “give the works a mystical and historic quality.” The sculptures can be seen online *here <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=6112100ee4&e=e96af1d113>* and in the installation shot below. TJ Mabrey, along with several other Vasari21 members from the Taos, NM, area (Dora Dillistone, Robert Parker, Barbara Zaring, Jane Ellen Burke, and Jameson Wells) have put together a show called “Art in this Time: Six Artists Exploring Their Worlds in Isolation” at the Bareiss Gallery, just north of town off Route 150 in El Prado. ”In three separate series of prints on exhibit, I contemplate loss,” writes Mabrey. One is the loss of the beauty that comes naturally with innocence and youth, but which in old age must be teased from a jar that comes in a box. Then the loss of that sight which sees things clearly. And there is the loss of movement—not just the body’s hesitation, but loss of adventurous desire to travel on an open ticket to ride. These losses are not necessarily bad. They give the gift of time to be alone, in the isolation of the studio, to ponder, to wonder, and create.” The gallery will be open on two consecutive weekends, October 22-24 and October 29-31, 1 to 5 p.m. T.J. Mabrey, *The Change*, embossed monoprint, 8 by 8 inches Barbara Zaring, *Flying Home* (2020), acrylic and oil on canvas, 48 by 36 inches Jane Ellen Burke, *Covid-19 Memorandum* (2020), graphite, one of nine panels, each 30 by 22 inches Robert Parker, *Muslin Icon I* (2020), acrylic on muslin, 22 by 22 inches. Dora Dillistone, Inquisition (2020), dirt, ink, and latex paint on deteriorated canvas, 48 by 60 inches Jameson Wells, *Hondo Series #37* (2020), oil and mixed media on canvas, 48 by 30 by 1.5 inches Through November 30, Marietta Patricia Leis is part of “Dawn Chorus,” a two-person show with Lawrence Fodor at the Scape Gallery in Corona del Mar, CA. The exhibition, says Leis, “signifies the beginning of a new day and brings together works in which both artists explore various attributes of light and color. In tandem, the works perfectly resonate with one another and sing in harmony, as if in chorus.” Leis is also part of “Wall of Shame” at Michael Warren Contemporary in Denver, CO, “an exhibit of socially responsive work exploring issues confronting us by the current administration such as Black Lives Matter, climate change, Covid-19, nuclear proliferation, and xenophobia.” A big agenda, but if you’re in the area between October 20 and November 23, be sure to drop by. The usual social-distancing protocols will be in effect. Below, paintings from Leis’s “Green” installation at Scape. Variants on the USPS art project, as *described for the site <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=994d7f7ef3&e=e96af1d113>* by Melissa Stern in July, continues as artists pursue their own endeavors to support our beleaguered postal system. “I have been sending out handmade postcards to support the USPS,” writes Nancy Manter. “I have made and sent more than 100 cards, which have gone all over the country and Canada. I started the project because I was having trouble focusing on my work during the pandemic and the political challenges we are all embroiled in. Some folks who got them are politically aligned with my views, but some I also sent to people who needed a good kick in the ass! What I have enjoyed is seeing what happens to my card during transit in mail. Some are in perfect condition, some have peeled in small areas, and some have this gold bar printed along the edge which is nice since I have a gold band in the work. They are flashe on yupo.” I got mine, and it’s lovely. Here is another of Manter’s tiny treasures. *And some words and images from new members….* “My abstractions reflect my desire to discover and communicate both visual and life experience,” writes Sheila Hecht. “I strive to convey a direct and pure response in a work that is at once stimulating and contemplative.” Sheila Hecht, *Ark Angel* (2018), acrylic on canvas, 40 by 30 inches “As a concept, gender fluidity has long been relegated to the margins, leaving many—up until recently—with few positive representations,” says Kerry Kehoe. “By creating a visual platform for a marginalized depth of gender expression, I build a more spacious visual culture for people whose gender expressions do not conform to dominant norms and invite the viewer into an alternate reality to question what is normal. The butch female or transmasculine male is the least depicted within our visual narrative. Each of my portraits, whether they’ve been taken inside a living room, kitchen, or an urban setting, questions normalcy and pushes against traditional ideas of family. This collection is an insistence on wholeness, for each subject is an active and intentional participant, refusing to be compartmentalized, objectified, or sensationalized.” Kerry Kehoe, from the series “The Family Within She/Her/He/Him/They/Them” “I draw and paint the human figure in the urban environment, because I am passionate about New York City's diversity,” writes Kathleen Migliore-Newton. “I observe how we maintain our privacy or discover ways to connect. I try to capture someone's movements and gestures as an indication of personality. I use minimal context for the lives I try to imagine. I work from candid photos to capture the energy and spontaneity of the city's inhabitants. I work hard to get the character, distinctive feature and expressions of the faces to reveal a common humanity. These young women, sharing a humorous moment, reminded me of the daughters of Zeus: Aglaia, Euphrosyne, and Thalia.” Kathleen Migliore-Newton, *Aglaia, Euphrosyne & Thalia*, (2020), oil paint on canvas, 40 by 30 inches “*Quartet, *is one of a series of paintings of candy or, more accurately, of their wrappers,” says Douglas Newton. “The brilliant colors, reflections, and transparency of the foils and cellophane make a challenging subject, one that becomes almost abstract when translated into paint. I paint the classic American candy, Hershey's Kisses, peppermints, butterscotch and with *Quartet*, foil wrapped chocolate caramels.” Douglas Newton, *Quartet* (2018), oil on canvas, 24 by 30 by 1.5 inches “Throughout my adult life I have sought to go willingly into the unknown,” says Adelaide Shalhope, who lives and works in Scotland. “This is a continual process between the struggle against my own vulnerability and my ability to relax enough to allow the necessary un-integration needed to use my imagination, and to therefore see possibilities. I don’t know where my life, or my work, will take me. Sometimes things work out and sometimes they don’t. Sometimes questions have no final answer. Sometimes things are in complete conflict and yet manage to hang together Each mark, each gesture, is intuitive—a moment of experimentation that begets another. Each piece of work is the unknown communicating itself into being.” Adelaide Shalhope, *Suddenly* (2020), oil on paper, 20 by 20 inches “I take a long view of the landscape, with varying degrees of abstraction, and my favorite edges in the painting are the margins between the land and sky, or land and water,” writes Kari Feuer, one of many members of the New York Artists Circle who are part of this site. “Having always lived on the edge of the water (I grew up in Seattle), I can't imagine not being able to see it all the time, and I love the big shifting skies that I'm becoming acquainted with since moving to coastal Carolina. When I get tired of painting representational landscapes, I do more abstract ones for a vacation—like the one seen here, which won a first prize this year in the Bold Brush painting contest in April.” Kari Feuer, *Water World*, oil on linen, 34 by 42 inches “'Things fall apart.," writes Margot Spindelman, quoting Yeats "This occurs to me often. Floods. Deaths. Elections. Uncertainty. Loss.. For the last few years my process encompasses this. I start a drawing with a line or a tear or a stroke. The next step is to build by adding a mark, or by adding another piece of paper by stapling/gluing/taping. Or the next step is to take it apart. And repeat. Coalesce and then separate, depart and arrive. These are explorations of fragility and resilience. In some images, there is a definite tilt toward instability. In others, forms interlock to assure cohesion. Each piece's narrative is formed by this process of creation and destruction." Margot Spindelman, *Untitled (push)*, 2020, gouache and oil on gessoed paper, 9 by 14.75 inches I realize this has been an insanely long newsletter (a whopping 4200 words!), so I have only one short sentiment left to express: VOTE! Jolly Cheers, P.S. When you send me images for the newsletter, please size them at *600 pixels* on the longest dimension, with a *title, date, size, and medium*. And please identify the jpg with at least your name. The top image has nothing to do with this newsletter. I chose it because we all need something peaceful to look at right now. Berthe Morisot, *Reading* (portrait of the artist’s sister, Edma),1873, oil on canvas, 29 by 39 inches. If you’d like to read more about the great 19th-century Impressionist, here’s a *post <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=24b8f9d387&e=e96af1d113>* from two years ago. [image: Facebook] <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=f2a8b67a34&e=e96af1d113> [image: Twitter] <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=55b17a428f&e=e96af1d113> [image: Website] <https://vasari21.us12.list-manage.com/track/click?u=1e7c90506c4e06f6503c74a46&id=8fcd2bd82c&e=e96af1d113> *Copyright © 2020 Vasari21.com, All rights reserved.* You are receiving this email because you expressed interest in Vasari21.com, an online community for serious artists. *Our mailing address is:* Vasari21.com P.O. Box 2856 Ranchos de Taos, NM 87557 Add us to your address book <https://vasari21.us12.list-manage.com/vcard?u=1e7c90506c4e06f6503c74a46&id=fd93865cd6> Want to change how you receive these emails? 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