Silk Painting

Historically, fabric painting has been popular in the Far East for many centuries. Although dyes were first developed around 1850 that were appropriate for dyeing silk, it was not until around 1920 that silk painting started to develop as we know it today. Interestingly, Russian emigrants who had fled to Paris earned a living designing and painting exquisite men's silk handkerchiefs. Experimenting, they began to paint on silk fabric in the hopes of developing other items for sale and silk painting was born. It soon evolved into painting on other items such as scarves and wall hangings and grew from there.

At the end of WWII, with supplies scarce and money tight, designers and the French women for whom they designed looked for ways to express their delight in the achievement of peace. They turned to decorative scarves to symbolize the times. Famous artists were commissioned to design silk: Henry Moore, Alexander Calder, Henri Matisse and many others. This creative and competitive pressure to produce fresh new ideas for the textile and fashion industry was the main ingredient needed to develop the medium of silk painting. Artists constantly experimented, manipulating the techniques and sharing knowledge, until silk painting emerged as a popular creative expression. Today, it appeals to many because it allows everyone to create their own original work and does not necessarily require refined drawing skills.

A surge in interest by Western artists has generated a bonanza of new products designed to make the process easier and more attractive to the novice. Faster, less involved dye setting and easier creative tools have helped to make silk painting one of the most popular fabric-related art forms today.

The basis for silk painting is the silk fabric itself: The luster, texture and natural "drape" and its interaction with the dyes make it an exceptional creative experience. Many weaves and surface textures are available, each offering its own element to the surface design. Other fabrics can be used with silk dyes, too: wool, cotton, rayon, some synthetics and linen. The dyes offer shimmering color, the hallmark of silk painting. Most of the dyes available are transparent and, when applied, become an integral part of the fabric rather than resting on the surface as paint would. One tip: Avoid mixing brands of dyes, as each is formulated to interact to specific guidelines.

Lines in designs are created with gutta, a resist material that has been used for centuries in the creation of textiles. The gutta lines "contain" the dyes and help to create well-defined, precise shapes and design elements. Gutta can be purchased as water-based or solvent-based resist and should be used with the corresponding types of dyes. New metallic resists are also available.

When lines are not desired and when a more watercolor style is the goal, dyes can be painted onto the silk in much the same way watercolor would be applied to paper. Brushes loaded with dye can be projected over the surface to create soft-edged, interactive colors.

Other miscellaneous tools needed include good quality brushes, some sort of fabric-stretching device to insure a tight fabric surface on which to work, gloves, mixing pans, storage jars, a steamer to set steam-set dyes, gutta applicator (if gutta line designs are used), dilutant to dilute the dyes (either distilled water or solvent), cotton swabs and cotton balls (can actually be used to apply color to large areas) and paper towels for blotting. Optional are thickeners and antifusants. Thickeners can be added to dyes to create a less fluid and more stable "paint" solution, while antifusants prevent the "merging" of dye colors. Both eliminate the need for gutta.

After assembling all materials, stretch the silk (or other fabric) over a wooden frame or by some other means. Stretching can be accomplished in the very Eastern tradition of using pointed dowels only slightly longer than the width of the material. Catch the hems, top and bottom, with the dowels, thus stretching the fabric tight enough for design work. Both the frames and the dowels are reusable.

If you are using gutta and want a defined line design, slip a drawing under the silk and use it as your pattern. Apply gutta along all lines or where divisions of color are desired. If a free-form style is your preference, of course no design is necessary.

Actual preparation of dyes is considered by many to be the most enjoyable part of the process. By combining colors and creating small amounts of color, you are free to create your own personal palette. If quantities of exact color are required, it is necessary to create enough premixed dye before starting. Once the colors are mixed, you are ready to start application.

This is where the true beauty and versatility of silk dyes come into play. Each is a clear, bright color that will stay bright when applied to the silk surface. Choose colors that will coordinate and blend with one another, or choose widely varied combinations. For added texture, you can sprinkle rock salt on the dyes while they are still wet and create wonderful starburst patterns or create fine sprays of texture with table salt.

Experimentation with silk dyes is easy, fun and very creative. Remember, too, that the dyes can be used on other fabrics, so new vistas of fiber creations are awaiting your discovery. Silk dyes, equipment, how-to books and project suggestions are available at art supply stores.

Graphic Chemical & Ink Co. Printmaking, etching, blockprinting litho supplies. Silkscreen Trade Names: Perfection, Easy Wipe, Graphic, Sureset, Universal, Graphinx.

Easy Birdhouse for Feathered Friends

Spring has finally arrived and what better way to celebrate than to create a new birdhouse to welcome the birds home. This project will use recycled materials as a basis, is simple enough for almost any age group, and is so much fun!

Materials needed: empty plastic drink bottle (two-liter bottles make good sized bird houses); a length of wire to hang the bottle; permanent marker; sharp scissors or a utility knife to cut an opening; dowel rod about 7" to 8" long; plastic glue for adding ornamentation.

Begin by washing the bottle with soap and water. Allow to dry. Replace the cap to seal the top of the "house."

Construction notes: Birds like safe, secure locations in which to build their nests. They like small "wells" or depressions into which they might settle with a view of possible predators. When drawing your entrance onto the bottle, remember to position it with enough of the container below entry level to offer the birds some nest-building depth. About three inches is a good start (or just above the black base on some two-liter bottles).

Draw an opening large enough for a small bird to enter, but not so large that a predator can get to the nesting birds or hatchlings--a l˝" circle is good. If you use a utility knife or scissors with sharp blades, please seek adult supervision. Of course smaller children should have Mom or Dad cut the opening.

For the perch, insert a dowel through the bottle. Below the entrance opening cut a small "X." This is most easily done by pushing the tip of the utility knife into the bottle in a cross-wise pattern. Cut another "X" pattern on the opposite side of the bottle. With care, push the length of doweling through from the front to the back, with most of the dowel remaining visible beneath the entrance.

You can glue leaves, bark, pinecones or twigs to the outside of your bottle for decoration. You could even cover the outside with contact paper cut into bright shapes, but the house is very useable without any decoration at all. Finish by attaching a hanging wire. This is done in one of two ways. Either wrap a piece of rigid wire around the neck of the bottle (being sure to catch the wire under the ring at the top of the bottle) or pierce the bottle and thread a piece of wire through the holes. Twist the two ends together to form a hanging loop.

Hang up the birdhouse and enjoy watching your new visitors! See the parents build a nest and care for their young after hatching; then maybe you will even see the babies fly!

New Clay

American Art Clay Co. has introduced its new Easy Squeezy^TM Clay, modeling clay that is so soft right out of the package that children can begin playing with it immediately. Children will love making their favorite characters and animals with this new super soft, brightly colored clay. It's non-toxic, non-sticky, odorless, colorfast, clean and economically priced. Easy Squeezy^TM Clay comes in Bright and Neon color assortments in 4, 6, 10, and 24 stick packages and is part of AMACO's new kids program that also includes Kids' Clay Tools and Fun Wire.

Festival Planned

Fun with Chalk, the Children's Creative Festival, will be held 10am to 4pm on May 20-21 at the Norman P. Murray Community Center in Mission Viejo, CA. The purpose is to inspire creativity, teach art appreciation through participation, and provide supplemental funding for quality visual and performing arts experiences for school children, thus developing creative and imaginative adults. Info: 1-877-WeChalk.

New Craft Kits

Creativity for Kids has introduced two new craft kits for kids ages 6-9. The Stationery Craft Studio consists of a silver holographic "train case" filled with stationery materials. Add decorations with butterfly and flower stickers and designs. Later, the case can be used to hold essential items for daily travels. The Hair & Nail Craft Studio "train case" is filled with materials to make hair accessories and do mini manicures. Decorate barrettes, clips and a headband with butterflies and beads; then make nails glitter with stickers and polish. The case can later be used to carry "treasures."

Easy Metal Sculpture

Creating three-dimensional works is very different from creating artworks on a flat surface. Because there are so many materials and methods you might choose to use in three-dimensional sculptural work, it may seem a daunting media to approach. But there are many easy and exciting ways to become involved, ways to explore the possibilities of the materials and how they fit with your design ideas. You can begin by creating metal works with common materials, readily available and inexpensive, before spending lots of money on specialized equipment.

One very easy way to begin sculptural work in metal is to create small wire sculptures with any type of wire. Copper, brass and anodized metals can be easily wound into tight shapes that free-stand. Nearly any shape--geometric, animal, figure, vessel, box, lidded container and more--can be made from wire. Combining different gauges of wire and different colors/metals can be very interesting. These combinations add texture and visual interest to your sculpture. Size is nearly unlimited--from very tiny, miniature shapes to huge life-sized forms. (Note: Larger shapes usually require an armature or support structure.)

When the exploration of wire twisting and wrapping has been exhausted, or if you are ready to try another easy metal sculptural form, consider using thin metal sheeting. This material can easily be cut with tin snips (special metal-cutting "scissors") or can be sawed with special, thin-bladed handsaws. Design your shapes on paper and then transfer those designs to the metal sheeting. Cut your shapes (with either snips or a saw) and file the edges.

Actually, edge treatment of these thin metal shapes can be one of the most interesting qualities of metal work. You can file with an irregular pattern and achieve a hand-hewn, near-antique look on the metal. Or you can use a small torch to slightly melt some metals and achieve a beaded look at the edge.

Joining thin sheet metal pieces can be accomplished in a number of ways including glue, but the most professional and artistic looks employ the use of small nuts and bolts. If your work is large, a quick trip to the hardware store for appropriate lengths and sizes of nuts and bolts is all it takes. If your work is really small, explore the tiny nuts and bolts available through model shops. These miniature items come in brass, copper, steel and anodized black metal. The use of a variety of colors and sizes is another way to add interest to your work. (Hint: Some miniature sculptures joined with miniature nuts and bolts make wonderful jewelry.) If nuts and bolts are your choice, you will need a hand drill to drill the holes through which you will place the threaded bolts.

Found object metal work can be loads of fun. If you do not have scrap metal lying around (and who does?) the best source for raw materials is a salvage yard or metal recycling/collection center. There are so many items collected at scrap yards that can be found in heaps and piles, that it might take you years to exhaust your exploration of found object constructions. If you are cleaver enough to find shapes that are already compatible, you won't need any cutting or shaping. Drilling holes and joining the components with nuts and bolts is all that is required.

For those times when cutting thick steel or other metal is required, most welding shops will be glad to assist the artist. They have high temperature cutters that can cut through any metal. Until your volume of work is large and your skill polished, you might consider using this type of help to complete your creations. If you want to personally explore the possibilities of welding, one suggestion might be to take a continuing education or community center workshop on simple welding procedures. That will add to your information gathering, and allow you to "try before you buy." Many tips and safety procedures are covered in this type of workshop and the special qualities of joining metals, cutting metals, and light tacking and joining will be explored. Equipment recommendations for start-up welders are often part of the curriculum as well.

Surface treatment of the metal used in your sculpture can be as varied as the projects themselves. If your project is small, you may want to polish the surfaces of the metals to a rich luster. This can be done with special polish for shining and cleaning metals called rouge. If the work is larger, this polish can be applied with a drill fitted with a soft cloth wheel. A sealer is recommended after the polishing is completed so that the high sheen will last.

Full-blown metal cutting and welding offer unlimited potential for sculptural creations but may be too involved and costly for many. However, materials as simple as metal screening, copper wire, brass, aluminum or copper sheeting and small nuts and bolts allow you to create some very rewarding metal work with virtually no cost. Patina colorants or spray paint can be used to create colors, allowing you to work with easy-to-manipulate materials and achieve dynamic results.

So whether you are just starting to explore metal sculpture or ready to forge ahead, there are many simple, creative and very rewarding things to do in metal. Look at metal in a completely new way!

WireMesh^® from AMACO

AMACO has introduced WireMesh^®, a specially manufactured woven wire fabric for arts and crafts. It looks and feels like fabric, but is an 80-mesh wire that allows you to create shapes that will hold the form. It can be cut into intricate shapes with household scissors and is recommended for detailed projects and delicate crafts such as jewelry, home and garden d‚cor, fine art mixed media, miniatures, architecture projects, clay modeling, floral designs, greeting cards, gifts, and more. Available in copper and brass and comes in one folded 16" x 20" sheet per package.

Printwork 2K -- Call for slides to 7th Annual National Printmaking Exhibition - Juror: Marilyn Symmes. For prospectus, send an SASE to Barrett Art Center, 55 Noxon St., Poughkeepsie, N.Y. 12601; (914) 471-2550. Slide Deadline: June 17.

Show & Sell @ TAG, Santa Monica, CA -- August 15-26 - Space rentals/juried show in oil, watercolor, clay, and mixed media. Contact John Parham (310) 473-7337. Deadline: June 1.

10th Annual Juried Exhibition by NOAPS -- William Woods University's new Kemper Center. Open to all artists in all styles of acrylic and oil painting. Juror: Frank Sisser. For prospectus, send #10 SASE to: NOAPS, P.O. Box 676, Osage Beach, MO 65065. Slide Deadline: June 15.

Artists Archives of the Western Reserve is devoted to building the legacy of regional art in northeastern Ohio. It preserves and stores works of art created by visual artists of the Western Reserve during the artist's life and after his or her death for the benefit of the public. An ongoing history of the arts of the region is maintained through research and exhibition programs, promoting and preserving this cultural heritage for future generations. For further info, contact Crystal A. Polis at (216) 721-9020; www.artistsarchives.org.

Degas Pastel Society Eighth Biennial National Exhibition -- Soft pastels only. Juror: Christina Debarry. For prospectus, send SASE to D. Guell, 214 Norland Ave., New Orleans, LA 70131; (504) 394-5233; e-mail degas@bigfoot.com. Slide Deadline: July 31.

The Society of Craft Designers is the only organization exclusively serving those who design for the consumer craft industry. Founded in 1975, SCD is an international nonprofit organization whose mission is to promote professional excellence for its members through educational opportunities and forums for career growth. Membership is comprised of individual designers, teachers and writers as well as corporate manufacturers, editors and publishers who are involved in developing and promoting high-quality crafts for the consumer. For more info, call (740) 452-4541; www.craftdesigners.org.

San Diego Watercolor Society 20th Anniversary International Juried Exhibition -- Original artwork using water-based media on paper support, completed within the last two years. Juror: Cheng-Khee Chee. For prospectus, send SASE to: Carolyn Dubuque, 3708 Elliot St., San Diego, CA 92106; www.sdws.org. Slide Deadline: June 17.

23rd National Print Biennial -- Original prints and monoprints. Juror: Antonio Frasconi. Send #10 SASE to: Print Biennial, Silvermine Guild Arts Center, 1037 Silvermine Rd., New Canaan, CT 06840. Slide Deadline: June 9.

The What, Why and When of Art Therapy And How to Do-It-Yourself

Art therapy could be loosely defined as the use of art to heal, to teach, and to direct. The art is created in a non-threatening environment and is meant to give strength and power to its creator. It is actually an invitation to express one's feelings by exploring shapes, images and color, using almost any type of art materials. Often those who experience art for the first time in this environment realize the value of such unbridled self-expression and start to paint regularly. Whether the artwork occurs spontaneously or is directed by the art therapist, the end result is often far easier than words, and it can build confidence and/or allow expression that is otherwise unattainable.

It might be said that everyone who creates artwork is experiencing a type of personal expression that is unequaled by other methods. Color and texture, even if the images are non-representational, are a pleasure to create and are entertaining to view and interact with. The sheer joy of such a creative process or the viewing of a result is, at one time, soothing and energizing. Many art instructors with no background in the elements of the human psyche have "break-through" experiences with their students. Although achieved from two different directions, the budding art student and the individual working with the art therapist share a similar end result. Each has grown, been empowered by self-expression and been given the chance to explore the self-interpretation of a vision they "feel," and that is the essence of what the creation of art is all about.

We can practice a style of do-it-yourself art therapy. All we must do is recognize the value of working through issues or events that stifle our creativity. Artists often can, and do, use their art to express their emotions. Often those feelings are too difficult to speak of or write about or may not even be realized by the artist. But artists are creating a vision and this vision is often meant to evoke dialog. The avenue an artist chooses is one of color and design. His images are created to record experiences, emotions, or perhaps to document beauty. This is the exact same reaction that art therapy is designed to evoke.Trauma is not a prerequisite for self-exploration. And who says we have to do things the way they have always been done? Experience new directions with your art. Try painting with your fingers rather than brushes. Paint in the dark. Paint a canvas with a wide, house painting brush - one sure way to "loosen up." Stand, with the drawing pad on the floor - and draw with a long twig or dowel dipped in ink. Challenge yourself. Experiment!

Airbrushing Acrylics on Paper

The 20th Century introduced many innovations in the field of art materials and painting, but perhaps one of the most unique and popularly embraced is the creation of acrylic artist colors. Like most things in our lives, we want our products to be affordable, durable, and easy to use. And the types of paints that we work with are no exception. Hence, because synthetic paints are convenient and fast drying, they are the painting medium of choice for many artists, particularly those who work on canvas. But acrylics are also ideally suited for work on paper surfaces.

Acrylic paints are available in a variety of formulations. No matter which one is used, they all have identical attributes: fast drying, tough, waterproof, non-yellowing, non-oxidizing, low in toxicity, non-ageing, non-flammable, extremely flexible, non- cracking and flaking, and most importantly they thin with water. For the airbrusher, acrylic paint must be the consistency of milk or thinner (ink) to be sprayable through an airbrush. Some acrylics are readily available in this consistency, but artists who have a preference for a particular brand can alter it to an acceptable viscosity with commercial thinning mediums; or they can make a solution of 45% water/45% gloss medium/10% acrylic flow improver to accomplish this.

As with other mediums, the selection of paper for acrylic painting is important. The surface should be as white as possible, neutral pH so it does not yellow, and of at least 2-ply thickness so it does not buckle from wet paint; and if you use frisketing techniques, the surface of the paper (or illustration board) must be strong enough so it does not lift when a self-adhering stencil material is removed. A variety of papers fit these criteria, and they can range from Bristol to high quality, heavy-duty watercolor papers.

To test the paper surface, apply a piece of masking tape to a corner and then remove it. If the paper picks from the surface, it is not suitable for use with acrylics. If you work in a wet-in-wet manner, you must stretch the paper first as you would in watercolor technique.

In airbrush technique, three different types of materials are used to block an area from overspray: frisket film, liquid frisket, and tape. Frisket film is a transparent material designed for airbrush technique. Peeling off the protective backing paper exposes an adhesive, and the film is applied directly to the paper surface. Cutting through it exposes the areas to be painted. It is imperative that you use a sharp stencil knife, that you not cut into the surface of the paper, and that you remove the film from the work surface as soon as possible. (Under no circumstance should you leave it on for more than 24 hours!) On the other hand, liquid frisket is painted on and is used to develop various effects where a hard-edged line is not required. It is the consistency of rubber cement and, since it is applied wet, can soften up the surface of the paper, so use care when removing it.

In addition, various tapes are used as well as self-adhering objects. If they are too sticky, they can cause damage to the painted paper surface. Tacky tape has a tendency to leave a residue after removal, but drafting tape, which has a light adhesive, is ideal for self-adhering masks on paper.

It is not necessary to varnish an acrylic painting on paper, since it will likely be displayed in a frame under glass. However, it is essential that the rendering be matted to prevent the paint surface from coming into contact with the glass or Plexiglas. If the painting touches the glass, it will adhere.

A basic problem with airbrushing acrylics can be a tendency to clog the airbrush. Since it is so quick drying, paint buildup will likely occur on the tip of the airbrush; and, if left for too long in the reservoir, paint will dry into one solid mass. If this happens, all is not lost. Acrylics can be removed easily with cleaning agents containing ammonia. Most commercial airbrush cleaners designed for water-soluble paints will clean dried acrylic from the inner workings of the airbrush. When using acrylics, periodically spray cleaner through the airbrush to retain peak performance.

Acrylics are ideal for both work with an airbrush and on paper surfaces. They are easily reduced and--unlike watercolors--are more permanent as well as waterproof.

Coins Popular with Masses The Commission of Fine Arts has recommended commemorative quarter designs for NY, NC, RI, VT and KY, which are due out next year and will join those already in production for six other states. Seen by many collectors as little pieces of art, the U.S. Mint has had to more than double its production to keep up with the huge demand.

Photography Winners Announced Among the winners of the third annual Alfred Eisenstaedt Awards for Magazine Photography are Richard Avedon and Annie Leibovitz. The new talent award went to Martin Schoeller. Winners received $1,500 and a Steuben sculpture, and their winning work appeared in a special issue of Life magazine.

Restoration Completed A dozen 15th Century paintings on plaster are again available for viewing by the public at the Church of San Francesco in Arezzo, Italy. The frescoes, titled "Legend of the True Cross" by Renaissance master Piero, had undergone 15 years of high-tech restoration.

Museum Gifted with Sculpture The Nelson-Atkins Museum of Art in Kansas City, MO, has received 84 works of art, primarily 20th Century sculptures, from a foundation created by the heirs of the founder of Hallmark Cards. Valued at more than $80 million, the gift includes works by Moore, Oldenburg, Abakanowicz, di Suvero, Noguchi, Calder, Segal, and others.

Truce Declared NYC Mayor Giuliani has agreed to abandon his campaign to evict the Brooklyn Museum of Art and cut its city financing over the "Sensation" exhibition. In turn, the museum dropped its First Amendment lawsuit against the mayor.

Stamp Issues Delayed The Postal Service has announced a postponement of the Thanksgiving and Christmas (Madonna and Child by Jan Gosaert and four contemporary images of Santa) stamps planned for this year. A possible postage rate increase and 53 million remaining booklets of last year's stamps were given as the reasons.

Artists to Exhibit New Jersey artist Robert Anderson has been selected as one of 25 artists to participate in Cows on Parade 2000 - New Jersey with his "Moona Lisa" design (www.arttekstudios.com/ftp/moonacow.jpg.) The "herd" will be exhibited outdoors throughout the town of West Orange from June 15 through Sept. 4. Switzerland began a tradition a few years ago of having artists paint full-size fiberglass cows under corporate sponsorship and exhibiting them in major cities. Last year Chicago sponsored 300 cows to great success. The cows will later be auctioned with the proceeds donated to charity.

--ARTtalk publisher Robert Paschal will exhibit New Paintings at the World West Galleries in Washington, PA, beginning May 6th for a month. Paintings in acrylics will include abstract still lifes and landscapes. Gallery: (724) 225-4663.

Questionable Paintings Listed The Boston Museum of Fine Arts has joined other major museums in publishing lists of paintings in its collection that may have been stolen by the Nazis in WWII. The 12 to 15 paintings with questionable histories will be posted on the museum's Web site.

Exhibitions:

Los Angeles -- Getty Center Research Institute Exhibition Gallery -- The Edible Monument: The Art of Food for Festivals presents 17th and 18th Century prints and festival books capturing the designs of ephemeral, edible art created for celebration in major European courts and cities, including that of Louis XIV at Versailles. Through May 21.

Washington, DC

--Corcoran Gallery of Art -- Palace of Gold and Light: Treasures From the Topkapi, Istanbul features more than 200 objects of art and artifacts from the palace that was home to the Ottoman sultans from the 15th 19th Centuries. Through June 15. Travels to San Diego Museum of Art and Museum of Art in Ft. Lauderdale.

--National Gallery of Art -- Twentieth-Century American Art: The Ebsworth Collection includes more than 70 works that trace the course of American art from the 1913 Armory Show in New York until the 1960's. Through June 11. Travels to Seattle Art Museum.

--Textile Museum -- Flowers of Silk and Gold: Four Centuries of Ottoman Embroidery features over 50 embroidered textiles dating from the 17th to 20th centuries. Through July 30.

Portland, OR -- Portland Art Museum -- Stroganoff: The Palace and Collections of a Russian Noble Family showcases more than 230 treasures assembled by the Stroganoff family of St. Petersburg, Russia. Through May 31.

New York City -- Museum of Modern Art -- Making Choices is the second cycle of MoMA2000 exhibitions and focuses on the years between 1920 and 1960, a period of social and political turmoil and spirited debate. The exhibition juxtaposes 24 distinct exhibitions that vary widely in scale, principle of selection, and style of display among them "The Dream of Utopia/Utopia of the Dream," "Modern Living 1," and "Walker Evans & Company." Through Sept. 26.

Charlotte, NC - Mint Museum -- To Have and to Hold: 135 Years of Wedding Fashions opens May 6 and will feature approximately 50 bridal gowns and grooms' wear from 1850 to the 1980s selected from the museum's extensive costume collection. Through August 12.

Lowell, MA -- The New England Quilt Museum -- Mood Indigo: Antique Quilts explores the use of indigo textiles in quilts made by some of the earliest American quiltmakers. Through May 21. Mood Indigo: Contemporary Quilts opening May 25 is a national juried exhibition that explores the contemporary quiltmaker's use of indigo which, according to many, still produces the most reliable and the best quality of blue dye today. Through August 6.

May Birthdays:
    13  Joseph Stella
    15  Jasper Johns
    21  Albrecht Durer
          Henri Rousseau
    22  Marisol

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Copyright ARTtalk Vol. 10 No. 7 -- May 2000