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AMERICAN SOCIETY of MARINE ARTISTS 501(C)3 Organization of Fish and Fisheries 5 The American Society of MMAARRIINNEE AARRTTIISSTTSS Upcoming THE AMERICAN SOCIETYOF MARINEARTISTS Published Quarterlyby VÉÇàxÇàá THE AMERICAN SOCIETY OF MARINE ARTISTS 501(c)3 Organization Of Fish and Fisheries 5 Nicolas Fox, Editor LenTantillo, Design&Layout LisaEgeli, President IT'S ALL ABOUT DRAWING 10 Ann Mohnkern, Vice-President Mike Killelea, Secretary Stu Egeli, Treasurer BOARD OF DIRECTORS LOSER OOK Del-Bourree Bach AC L 16 PriscillaCoote Sheri Farabaugh Nicolas Fox Anne Brodie Hill Russ Kramer BILL MULLER 20 Carol McClees Len Mizerek Sergio Roffo Kim Shaklee Len Tantillo INSPIRED BY TELEVISION 15 ASMAMailingAddress: ASMA ASMA'S WEST COAST REGIONAL 24 PO Box 2903 Gainesville, GA30503 EVENTS OF INTEREST 27 NEWSLETTERDEADLINES REGIONAL REPS 32 Dec.1,Mar.1,Jun.1,Sept.1 Disclaimer: The opinions, beliefs YOUNG MARINE ARTISTS 33 andviewpoints expressedbythe various authors andparticipants in REMEMBERING VICTOR MAYS 34 this publication do notnecessarily reflectthe opinions, beliefsand viewpoints ofthe Editor or official policies ofthe American Societyof Marine Artists. AllmaterialintheASMANews & Journal is copyrightedandmaynot ON THE COVER bereproducedinwholeorinpart withoutpriorwritten consentof the American SocietyofMarine Artists© 2019 FELLOWS OF THE SOCIETY ManagingFellow C.W. Mundy David Bareford Chris Blossom FROM THE PRESIDENT William Davis Don Demers William Duffy Lisa Egeli Sheri Farabaugh Neal Hughes Michael B. Karas DearMembers, Russ Kramer Loretta Krupinski Richard Loud As summer ends, the sailing gets even better here on Chesapeake Bay, and the Leonard Mizerek marshes come alive with color. These are the roots ofmy own need to create art Paul Mullally aboutthe water, andeachofyouhave astoryabouthowwaterfeeds yourwork. C.W. Mundy Charles Raskob Robinson As a Society ofpeople who create and/or care about marine art, we approach Sergio Roffo the subject from manydifferent angles. While our tradition is rooted in historical Kim Shaklee maritime life, we now include all manner ofart about the water and things that Len Tantillo live in it. This issue of the News and Journal reflects that variety, while also Kent Ullberg showing how we can learn from it. We all have different strengths, and learning ASMA Fellow Emeriti fromoneanothermakes us betteratwhatwedo. John Barber June Carey After a period of relative calm, we have begun an exciting series of Peter Egeli opportunities to exhibit, to discover and to grow. Congratulations to artists with Norma Jay work accepted into our West Regional Exhibition, open now at Channel Islands Raymond Massey Maritime Museum in California. Next up, our 18th National Exhibition will be William G. Muller juried from among your submissions to create an outstanding showcase ofthe Mark Myers best ofthe best in contemporarymarine art. And in March that exhibit will open William Ryan in Jamestown, Virginia during our 3rd National Marine Art Conference, for John Stobart which we have apowerful series ofpresentations linedup. ASMA Honorary Members MaryBurrichter I encourage you to take full advantage ofall your membership offers. Discover J. Russell Jinishian and learn through the wonderful articles in this Journal, showyour finest workin Robert Kierlin museums around the country in our 18th National, and engage with other Jean Marshall members at the Conference. And continue to find inspiration from water and the Peter Maytham sea in whatever ways you do, whether surfing Pacific swells or fly fishing in Graham Stiles Minnesota or sailing in Cape Cod. Our variety ofexperiences and approaches makes us astrongerSociety. The American SocietyofMarine Artists is anon-profit organization My best, whosepurposeis to recognizeand LisaEgeli, President promote marine artandmaritime history. Weseekto encourage cooperation amongartists, historians, marine enthusiasts and others engaged in activities relating to marine artandmaritime history. Sinceits foundingin1978, the Societyhas broughttogethersome ofAmerica’s most talented contemporaryartists in the marine art field. OF FISHAND FISHERIES TÇTÜà|áà|vexäxÜxÇvxyÉÜà{xUÉâÇà|yâÄfxt The truth is that many fish alone do viewer into the underwater world ofa not really conjure up dynamic whale’s eye view in the luminous blue paintings. The drama is in the vessels waterofthe westcoastPacificocean? that catch the fish--time to dust off The trade in these parts began in the by Loretta Krupinski your imagination hat. There are many 1600s as fishing stations and excellent paintings of lobster boats at shipbuilding were scattered along the I cameto Maine20 years ago “forthe the dock, underway or moored in the shoreline andislands. The needto catch waters” as Humphrey Bogart said in abundance ofharbors here. fish generated many industries: Casablanca. I didn’t set out to paint fish Who could not embrace Tom shipbuilding, fish packing plants, or even become a Maine historical Hoyne’s paintings ofthe drama ofthe canning, lobster traps (wire traps today painter, but I did. Maine’s shoreline is Gloucester fishing schooner, and the ), dried and smoked fish, coopers, seine rich in shipbuilding and fishing. dorymen rowing back to the schooner nets for trapping, technology evolving Eventually, one might need to learn to with their catch? Or Don McMichael’s into nets for bottom fishing on paint fish. beautiful whale paintings that bring the trawlers. All this industry contributed to buildingthe thrivingtowns alongthe coast. The fishermen here in Maine are very caring about fishing quotas so as not to deplete our native species. Because of overfishing, cod has been disappearing in Maritime Canada and Maine for years. The National Marine Fisheries Services also recently announced the protection of the remaining 435 Right whales that swim in Canadian and Maine’s waters. The problem is entanglement issues from vertical lines (ropes) from lobstertraps on the bottom to the bouys above. The whales are getting stuck in the lines mostlyin Canada, where they prefer the cooler waters and abundant plankton on which to feed. (Fishermen are too salty for whales to eat.) It has been suggested to cut trap limits in half. A400 trap limitwouldbe reduced to 200 – which is not sustainable for alobsterman. Another problem is the lack of herring for lobster bait over the last few years. Quotas are also in effect for herring. Other types of fish and fake bait (unlike fake news) are all on trial. No bait, no lobsters. Thelargebodies of fish here are herring, mackerel, pogies, repairman, who knewhis fish after alife haddock, seaurchins andscallops. on the water. I can also tell the But I am now able to tell the difference--says she who works from difference in color between offshore old black and white photos--between a and inshore Cod, thanks to my furnace haddock and a cod, which are in the same family. (Answer: It’s in the tail.) I love to eat lobster but don’t paint them. Never a pretty sight, they don’t call them “bugs” fornothing! Here is an easy way to paint many many fish, either in a net or on the dock. Begin by penciling in several whole fish. Scatter them about leaving spaces in between. Continue to fill in the left over spaces with other parts of the fish – heads, tails, mid-sections. This also works well ifyou are painting apileoflobsterbouys. Itis importantto identify a specific fish if needed. Do your research. Editor’s Note: Artists like Loretta Krupinski have been drawn to fish and fisheries for millennia. Why? Or more precisely, why do people like painting, and looking at, paintings of fish and fishermen? There are a thousand bio-historical reasons this subject could resonate for us. To name just a few: we evolved from marine life forms; all ofus had gills at one point (in the womb), and most human societies developed around active fishingports. But the more aspirational motivating factor may be envy. Fisherfolk live a romantic and picturesque life, even if it can be grindingly hard, dull, and dangerous at the same time. They work where most of us only play: through rough seas, in the dark ofnight, despite gale force winds and powering through massive waves. Also, as Loretta notes, on many levels, fisherfolk are struggling to survive culturally. With depleted fishing lives: we’re not in constant danger of gallery, enriches us, helping us see how stocks (halibut practically disappeared being drowned or having a hand crushed precious all ourlives are. from Georges Bank as far back as 1850 by a falling block or getting frostbite Members of the American Society of due to overfishing), the increased severity while trying to stabilize loose gear in a Marine Artists have chosen marine art ofweather events due to climate change, February gale. No, we’re not in danger, because we hear the call ofthe sea. Is it and increased competition from modern but we long for it. We all look for any wonder that we should lionize those technologies (including refrigeration), meaning in our lives, and contemplating who work on it, and honor the animals the American fisherman is up againstit. paintings that depict that struggle for that have fascinated and nourished us Many of us live pretty comfortable survival, if just for a moment in an art sincethebeginningoftime? - N.F. IT'S ALL ABOUT DRAWING g{x\Çw|áÑxÇá|uÄxtÇwbäxÜÄÉÉ~xwUtá|vTÜà|áà|vf~|ÄÄ black and white. The resolution was bythe magicofthe thingthatwe would poor. Reception was worse…we only get up and hour earlier than the prayer got three channels. The broadcast day program justto watch the testpattern. I began at 7:30 AM with prayers and can stillseeitvividlyin mymind. Itwas ended at 11 PM with the Star Spangled an intricate cross design with Banner. The news came on twice aday concentric circles framing a circular with each program lasting only 15 shape with the profile ofan Indian chief minutes. Welovedit. complete with headdress--ah, the good My brother and I were so mystified old days. My favorite programs were, Captain Video and his Video Rangers, Andy’s Gang, and by Len Tantillo Howdy Doody. Beyond the In 1955, when I was nine years old, programing specifically aimed at wegotourfirstTVset.
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