Founded in 1915, the Society of American Graphic Artists is a leading non-profit, artist-run membership organization comprised of artist printmakers who are committed to and have demonstrated the highest standards of excellence in their work ... and to promoting a greater appreciation of fine prints among collectors and the general public.
Each year, and for over 100 years, the Society has exhibited and recognized the works of its members at its annual exhibition of fine prints.
Image courtesy of Eric Goldberg, "Snow Squalls with Sunshine"
Kathleen E. Gallagher - email@example.com
Julie Nadel, 1st Vice President - firstname.lastname@example.org
Colleen Pike-Blair, 2nd Vice President - email@example.com
Barbara Minton - firstname.lastname@example.org
Eric Goldberg - email@example.com
Martha Ives - firstname.lastname@example.org
Tokoha Matsuda - email@example.com
Colleen Pike-Blair - firstname.lastname@example.org
Martha Ives - email@example.com
Image courtesy of Kathleen E. Gallagher,
"St. Paul's NYC"
Martin Barooshian *
Sherry Smith Bell
Grace Bentley-Scheck *
Doug Billings *
Jean Blackburn *
Alexandra Black-Eckhardt *
Jean Allemeier Boot
Martin Lee Boyle
Harvey Breverman *
Deborah Bryan *
Karen Brussat Butler
Jon Cawelti *
Lee Chesney, Jr.
Sylvie Covey *
Michael Di Cerbo
Lise Drost *
Amaranth Ehrenhalt *
Lee Ann Frame
Donald Furst *
Dennis Galffy *
Kathleen E. Gallagher
Arthur Geisert *
Deborah Geurtze *
Sergio Gonzalez-Tornero *
Peter Gourfain *
James Haggerty *
Jane Reid Jackson
Judith Jaidinger *
Andre Junget *
Anthony Kirk *
Sheryl Ruth Kolitsopoulos
Lynwood Kreneck *
Kathleen Kuster *
Shiou-Ping Liao *
Harlan Mathieu *
Christopher Hill Morse *
Joan E. O'Connor
Richard Pantell *
Margaret Adams Parker
Gilbert Passarella *
Warner Pfeiffer *
Kathleen Rabel *
Rosalyn Richards *
Ellen Nathan Singer
Mark D. Sisson
Mary Margaret Sweeney
Alyce King Vaccino *
Bernard Zalon *
We have new members! A warm welcome to:
We have Award Winners! Congratulations to:
84TH MEMBERS PRINT EXHIBITION AWARDS
Speedball Art Products Material
- Materials Purchase Award $500 in Woodblock Linoleum
Speedball Art Products
- Materials Purchase Award $500 in Silkscreen
Speedball Art Products Materials
- Purchase Award $500 in Intaglio
Kathy Caraccio Award
- Purchase Award in Color Intaglio $300
Blick Art Materials
- Purchase Award $500
Michael Di Cerbo
Artist & Craftsman Supply Materials
- Award $200 in Intaglio
Artist & Craftsman Supply Materials
- Award $200 in Woodblock, Linoleum
Jayne Reid Jackson
Murray Roth Memorial Award in Printmaking
- Award $200
Mark D. Sisson
Robert Conover Memorial
- Award $200
Arun Bose Memorial Award in Intaglio Printmaking
- Award $200
In Memory of Gertrude Pferdt a beloved Teacher
- Award $200
Ellen Nathan Singer
In Memory of Ruth Leaf
- Award $100
EC Lyons Materials
- Award $100
Kathleen E. Gallagher
Renaissance Graphic Arts Materials
- Award $100
Mat Your Print
Some Suggestions for Matting a Print
by Steven Walker
Cutting a mat is a fairly straightforward procedure, but there are some pitfalls and potential problems inherent in the process. This is an article in which I'll lay out some suggested best practices for matting prints, with a focus on members submitting work to SAGA shows. I will try to cover the actual "how-to" (along with various situations that may arise), always in the light of a few basic principles.
A mat serves two main purposes: to protect the print and to present it well. Everything I will say will fall under one or both of these two precepts, which can be thought of as the practical and the aesthetic. The practical will also cover a few economic aspects of matting.
The mat should be thought of as something that supports the print during a part of the print's life. In other words, the print will hopefully outlive the mat. The mat should serve to protect the print, doing the print as little harm as possible while the print is in its custody. For this reason, the overarching idea is to avoid any practice that could potentially pose a danger to the print. Also, the mat should not be thought of as permanently attached to the print.
Aesthetically, the mat should help to display the print to best advantage for exhibition. It should present the work without calling attention to itself or detracting from the work for any number of negative reasons.
To cut a mat yourself, you will need a mat cutting device. Although it is possible to cut a mat with a hand-held tool, most people will prefer to have the tool mounted on a track to hold the blade at a consistent angle. Mat-cutters with a device sliding along a track start at about $45 for a 24-inch track, while a 36-inch model with the track mounted on a base will start at about $100. While the price may seem like a lot to lay out, I think it will pay for itself after two or three uses (compared with the typical cost at a framing store).
Mat board is sold in regular and acid-free or archival. Sometimes manufacturers use the term “acid-free” a little too loosely, so I would look for “archival” or “museum board.” Regular mat board is less expensive but should only be used for short-term presentation, not for permanent storage or framing. It is made of an inferior pulp core with paper covering the top and bottom. Over time, acids will turn the core yellow, orange, and brown, and this will leach into your print paper. Archival board is homogeneous, so that the exposed interior after cutting appears as a single solid material. The backing board can be either mat board or foam-core board. Be aware that foam board is also sold in both regular and archival.
Color. While both kinds of mat board are available in colors, most exhibitions will specify a white or off-white mat. The off-whites range from slightly warm white to ivory, cream, and natural. My own feeling is that the mat shouldn’t be warmer than the print paper. I would use pure white mat board over a pure white paper, and a warmer white for warmer paper. My preference is also that the mat not be of a darker value (of off-white) than the print paper.
The next consideration is whether the print is to be framed, or if the show calls for specific mat dimensions. Here the matter of cost may come into play. I will list the framing options in order of ascending price:
1) Re-using an existing or found frame, obviously the cheapest option.
2) Standard-size frame purchased wholesale. Depending on the size of your print image, there may not be a standard size frame that does your work justice. The margins may end up with unfortunate proportions no matter which standard size you try. But for other image sizes, a standard frame may be just fine. (Here I will confess that there have been times when I’ve calculated the final frame size before deciding on the size of my copper plate.) Examples of standard sizes are 12x16, 14x18, 16x20, 18x24, 20x24, 24x30.
If you sell your work, you might consider obtaining a resale certificate and ordering mat board and/or frames from a wholesaler. (For tax purposes, these can be deducted as business or hobby expenses from the amount of your sales.) They will usually be available with or without glass or Plexiglas. Wholesalers set modest minimums for a given order, which may or may not be too much for your needs. But the cost per piece can be less than half the retail price.
3) Standard frame at retail. The least expensive retail option. Also available with or without glass or plexi. Note that some of these frames come with a pre-cut mat, but the mats are usually not archival, they always have a centered window, and the window is in all likelihood not the right size for your print. But the free mat can be used for scrap or some other purpose.
4) Do-it-yourself, whole-inch custom frame made from retail frame sections and plexiglas. This option will allow more flexibility than a standard frame, since you can choose the whole-inch mat size that comes closest to your preference. Sections are sold in pairs, and you will also need to buy a piece of plexiglas cut to fit the frame. On occasion, there may be a situation where you prefer to use a standard size frame made of sections; in this case, you can use a standard piece of plexi, which will be less than a custom-cut piece.
5) Custom mat and frame done by frame shop or department. This is the most expensive option, but allows you to get exactly the dimensions you want. (I will have a few more comments about frame shops later.)
So when I’m thinking about matting a print, I may also consider present or future framing options in deciding how to mat the print.
Aesthetics of the mat margins. The optimal way to display a print in aesthetic terms is to choose mat margins based on the image. The classic rule of thumb is for the top margin to be a little larger than the sides, and for the bottom to be larger than the top. In most cases, raising the image a little above center will show it to better advantage than merely centering it. There are exceptions, such as an image with a strong design in its upper half, but I would generally go with the standard for starters.
If cost is no object, or if the work will not be framed, or if the show has no size requirements, you can base the margins strictly on appearance. Lay out the print on a table surface and use four straight edges like rulers or strips of paper or board to “frame” the image to a perimeter size and margins that work well to your eyes. Then use these measurements for your matboard and backing board.
This technique can also be used to fit your image to a whole-inch or standard size frame. Try various possibilities until you find the best option for the mat perimeter and the margins around the image.
Cutting the mat.
Make sure your hands are clean throughout the matting process.
You will likely start with a standard 32 x 40” sheet of mat board. The backing board should be cut to the same size. The total size of the mat is the size of the image, plus a small border between the image and the mat window, plus the margin of the mat. The amount of space between the window and the image is a personal choice—as small as 1/8” for smaller prints up to an inch or more for larger prints. A standard might be to use a half inch at the top and sides, and a little more at the bottom, say 5/8ths or three quarters. The mat should not cut off the title or signature, so keep an eye on this when measuring.
Once you determine the outside dimensions for your mat, measure and rule the back of the board with a light pencil, and cut with a sturdy tool (e.g., box cutter). A slimmer blade will work as well, but will take a little longer. Use a piece of scrap underneath to absorb the blade during the cut. Next, cut the backing board to the same size as the mat. The larger type of mat cutter will have a 90-degree blade that can be used for this purpose.
Measure the mat window carefully and mark lightly in pencil. You will need to make two sets of tick marks for each line to ensure that the window is parallel with the board. Since the board may be slightly imperfect after cutting (e.g., it might be 20-1/32” instead of 20”), always measure with the zero line of the ruler aligned with the same edge of the board for both measurements. The marks may be drawn as small crosses at the intended window corners, or as lines running across the entire board, depending on the type of cutter you will be using. Avoid using dark graphite marks as they may cause discoloration on the exposed core of mat board after cutting.
Each mat cutter has its own peculiarities and idiosyncrasies. It’s a good idea to practice on scraps until you are used to how it handles and cuts. Especially important is to develop a feeling for the best place to insert the blade in order for a good corner to result. On some cutting devices, you start the cut at the top and pull the blade toward you, while on others you push the blade away from you. You should place a length of scrap mat board under the line of your cut to absorb the blade. When making cuts, I start the blade slightly beyond my marked corner (1-2 mm), to compensate for the blade angle and the depth of the board. However, it is best to err on the side of coming up a little short than to overshoot the corner (which will leave a visible cut on the finished mat). If the corner is not quite cut, don’t panic. Carefully remove the board from the blade-holding device without tearing the remaining fibers in the corner; then slip a razor blade into the angled slot of the cut, and make gentle strokes toward the corner until the cut is complete.
With a new blade, it should be possible to make each cut by penetrating the board completely and executing the cut in a single stroke. However, for 4-ply board, I find it is generally safer to make two or three cuts for each edge. The first stroke goes about halfway through the board and the next stroke(s) complete the cut. This reduces the chance of the blade snagging on fibers and causing tears or “pilling” on the front side of the mat. To do these multiple cuts, make sure the blade always enters exactly into the original slot for subsequent passes.
Sometimes problems do occur, as when fibers bunch up and pill. This can be treated by gently and patiently stroking the pilled area with an emery board or blade until the fibers are flush with the rest of the cut. If the problem cannot be fixed in this way, or if there is a small but noticeable tear on the mat surface, I can often save the mat by measuring and cutting a new window 1/16- to 1/8-inch larger than the original one.
For joining the front and back boards and mounting the print, there are two types of archival linen tape: self-adhesive and gummed. The self-adhesive has a strip (as on a Band-Aid) that is peeled off. Its advantage is that it doesn’t require water. I tend to think gummed tape is more reliable in the long run, provided the right amount of water is used. For delicate papers like rice paper, lighter weight gummed paper tape may be preferable. (See below for details on wetting gummed tape.)
Once the window is cut, follow these steps to complete the matting process. Refer to the diagrams below. Double check before applying any tape, because it is easy to make irreversible errors if you are not careful (like taping the mat upside down to the backing, etc.)
Remember that the bevel cut of the mat window is to open outward when the mat is in its final position, and that the widest margin should end up at the bottom.
Place the two boards in their intended position on a clean tabletop. Flip the window mat over so that it lies face down above the backing board, with its intended top edge aligned with the top edge of the backing board (which remains face up). If the two boards are of the same thickness, hinge them together with tape along their common edge. Ideally they should be hinged with archival linen tape, either with two- to three-inch strips perpendicular across the common edge, or with a length of tape running horizontally along the edge. If there is adequate space at the top such that the tape will not come into contact with the print paper, a non-archival tape will be all right for hinging the boards. Gummed packing tape or white artist’s tape would be my choice; I would avoid using cheap masking tape, plastic packing tape or duct tape. (Be sure to keep your print well away from the boards until they are hinged together, since a dangling piece of tape might find its way inexorably to your print and bring it to ruin.) In fact, I would keep the print out of reach in a safe place throughout the process of cutting the mat.
If the boards are of unequal thicknesses (e.g., foam core backing), place a strip of mat board under the foam core near the top edge, and a strip of foam core under the top edge of the mat board to bring them to the same height for hinging.
To mount the print in the mat:
Open the mat and place the print face up on the backing board. Bring the window board down and maneuver the print until it is centered and parallel with the window and in the desired position. Once this is achieved, place a paperweight on the print to hold it in place, and then flip the mat open.
You will next attach the print to the backing board using two “T-tabs” (tape in a T shape with adhesive sides facing each other). For larger or heavier prints, three or even four T-tabs would be better. The size of the tape can vary depending on the size of the print. For a modest size print, use about 1.5” strips; the top bar of the T can be a little longer.
For gummed tape, I use a small dish with a wad of paper towel soaked with water. A shallow dish of plain water will work with some tapes, though I usually prefer to blot it if too wet. The tape should not be too wet (loss of adhesive) or too dry (poor adhesion). Moisten half the strip and feel with your finger; with a little practice, you will develop a feel for the optimal degree of sliminess you should feel.
Wet the bottom half of a piece of tape and slip it under the print near one of the top corners. Position the tape face up so that the wet half adheres to the back of the print and the top half extends above. Repeat near the other top corner of the print for the second T-tab. If a third is needed, place in the center. When applying these tapes, take care not to move the print out of position.
For each piece of tape adhered to the back of the print, wet another piece and apply it face down over the protruding part of the first piece to form the T. This second piece should be large enough to cover the visible part of the first piece with enough left over to secure itself to the backing (about 2” should be adequate). I normally use a piece of clean paper towel over the wet tape as I press it into position for a few seconds. No tape should touch the front surface of the print.
The final step would be to apply two small hinges of linen tape inside the bottom corners of the mat. This will keep the mat closed and make it easy to reopen if that becomes necessary in the future.
Here I will mention that a less-is-more approach is better and safer in matting a print. The print should be able to “breathe” (expand and contract depending on temperature and humidity). Note that by hinging the print from the top, it is allowed to hang freely under the mat and there is a minimum of adhesive actually in contact with the print. Sometimes mats get dirty when prints are exhibited (installers don’t always follow best practices), and you may end up having to replace the mat later on. For this reason, it is best to have used a simple and clear method to mount the print in the first place. The mat should be made in such a way that it can be reopened easily without endangering the print in the process. For this reason, I would avoid the following practices, all of which I’ve come across in my experience of handling prints, and all of which violate the basic art handling principles of preserving the artwork and minimizing risk.
DON’T adhere the print to the back of the mat board. Although some may think of this as a standard and safe method, it’s not. My problem with this method is that if the mat window is needs to be opened and raised, the print comes up with the mat. Any time the print moves, it can also be torn. Remember that it may not be you who eventually opens the mat.
DON’T use anything more than a top hinge and bottom corner tabs to attach the mat to the backing. Anything more is probably overkill. I’ve seen mats where there was glue applied all around the print in order to keep the mat and backing stuck together; I’ve also seen double-sided tape used in this fashion. TERRIBLE! It’s terrible because when you open the mat, you must destroy the matting and apply force to rip the boards apart. Obviously this jeopardizes the print.
DON’T apply any tape to the front surface of the print. Use T-tabs as suggested above and adhere to the back.
DON’T tape the print to the backing anywhere other than the top edge. For heavy prints, use a few extra T-tabs at the top. Archival corners (similar to old photo corners, but in larger sizes) can be purchased, or can be made by folding paper and taping to the backing. Corners support the print from below. Because of gravity, I would only use corners in tandem with top T-tabs, to avoid the print sagging downward over time.
DON’T dry mount. I don’t know if this practice even exists any more, but if it does, I would avoid it like the plague. Once a print is glued on its reverse side to another surface, it cannot be removed. Eventually the impurities in the glue and possibly an inferior backing will make their way into the print.
DON’T ASSUME FRAME SHOPS always follow best practices. Some of the atrocities I’ve encountered were very likely perpetrated by frame shops. I would ask questions before entrusting my work to some of them.
I’ve too often seen things like tears, acid haloes, or amber-brown tape marks on a print where a piece of cheap tape had been used decades earlier. As SAGA members, we would hope that our prints will outlive us and that others will handle them in the future. Therefore, we want to use the best materials and make things as easy as possible for someone who opens a mat in the future.
84th Members Print Exhibition
SAGA 84TH MEMBERS PRINT EXHIBITION
Syracuse University Art Galleries
Shaffer Art Complex 110 Sims Drive
Syracuse University, New York, 13244.
August 16 - November 18, 2018.
The theme of the show is “Work of the New Century.”
For more information, please visit our Events page
President's Message 2017
The SAGA Council has been very busy this year working for you, the membership.
Last spring and this summer Robert Newman offered us the use of his gallery, The Old Print Shop in New York City, for SAGA’s 83rd Members Exhibition and the annual spring membership meeting.
The exhibition ran from July 11 through August 13. The show included ninety-seven matted prints beautifully displayed in the gallery. Many SAGA members and their guests attended the opening and several prints were sold.
On August 2nd, there was a panel discussion in the gallery, focusing on the prints in the exhibition and how prints are made. Participating in the panel were the following members of SAGA: Robert Newman, Moderator, Bill Behnken, Kathleen Gallagher, Michael Pellettieri and Emily Trueblood.
The entries for the 2018 SAGA exhibition at Syracuse University Art Galleries have been received. By now the seventy members who are participating have received the final instructions for the exhibition. The prints are due in Syracuse in January 2018. When the exhibition closes, 50 prints will be selected by Syracuse to be incorporated into the Syracuse Art Galleries Collection.
This year we changed the entry procedure for SAGA exhibitions, by moving to electronic submissions. It is important that you follow the directions on the prospectus for future exhibitions so that your information can be processed properly.
Other SAGA news is evident right here on our website which has been given a new look. It is easy to navigate and is still a work in progress. As your president I am asking you to send jpegs of your recent work, labeled with your name plus a pdf with information about you and your work to firstname.lastname@example.org. Your images and information will be posted in the artists section of the website. Also, when you have a show or when your are recognized for your accomplishments, please send us the information in a pdf and if possible a photo or two. We want to post updates on member news. In this way we can help to promote you.
Please remember to keep your dues up to date so you can share in the benefits of the SAGA community and so that information about you can be shared with visitors to the website. Annual members' payments are due each January for the coming year.
The SAGA dinner will be held Friday, October 20, at the Society of Illustrators, in New York City. This year’s honorees are Richard Haas and Masaaki Noda. I hope you can join us.
SAGA is a volunteer organization and we are always looking for members who would like to contribute their time and skills and perhaps serve on the Council. Please think about it. If you have computer skills, grant writing experience, or a more general interest in helping to develop this great association of printmakers, we can use your help. We are all volunteers and we welcome you.
We would also like to bring new members into the organization. We jury new members in October and May. Please tell your friends and students about our organization and urge them visit the SAGA website and apply.
Kathleen E. Gallagher, President
Pioneer constructionist sculptor and painter Harriet FeBland passed away on July 1, 2018. A New York City native, she was educated at Pratt Institute and New York University then relocated to England and France where she gained an international reputation early in her career, exhibiting at the Musée D'Art Moderne, Paris, and Alwin Galleries and the Drian Gallery, London. She married and had two sons while in London then returned to the United States after 11 years abroad.
An endlessly curious artist, Ms. FeBland studied graphics with Stanley Hayter at Atelier 17 in Paris in the '70s and '80s and has through the years been recognized for her mastery of the monotype, having won many awards and distinctions. She also produced large fiber-art wall hangings on some of the themes expressed in her paintings.
Despite her long and accomplished career, Ms. FeBland vividly remembered the outright discrimination she experienced early on as a woman artist trying to gain recognition and opportunity in a male-dominated art world. Always actively involved in promoting women's equality in the arts both for herself and her colleagues, she appeared in many high-profile discussion groups and art shows in the 1970s on the issue. Notable exhibitions of the era she participated in were: Women in Art, Brainerd Art Gallery, SUNY Potsdam, 1972 in which she showed with such luminaries as Marisol and Beverly Pepper, and Women Choose Women, New York Cultural Center,1973 in which prominent women artists chose artists to show with whom they respected and admired.
She taught art at New York University, and from 1963 to 1993 operated the Harriet FeBland Art Workshop, which offered master classes in painting for advanced students and presented workshops at Bennington College; London University, UK; Iona College; College of New Rochelle; Santa Fe Art Institute and elsewhere in the U.S. She was past President of New York Artist Equity Association and Past President/President Emeritus of the American Society of Contemporary Artists; she also served as Secretary for the American Art Committee, United Nations 1978-81.
In Memoriam - more tributes
Elisabeth Schleussner 1929-2018
We shall not cease from exploration
And at the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
—T. S. Eliot
Art critic, fiction writer, and graphic artist, Elisabeth Stevens Schleussner died at her home on Sunday, June 10 of a sudden heart attack.
With a journalistic and artistic career that spanned six decades, Elisabeth Stevens Schleussner, who wrote under her maiden name Elisabeth Stevens, published over 20 books of fiction, poetry, and drama. As a journalist, she served as the art critic for The Washington Post, The Wall Street Journal, The Trenton Times, and The Baltimore Sun. Her reviews and articles also appeared in publications including Art News, The Atlantic, The New Republic, Mademoiselle, LIFE, and the Sarasota Herald-Tribune.
Known for her sharp intellect and extensive personal library on literature and art, Elisabeth was born in Rome, New York in 1929, the only child of George May Stevens, who worked for National Distillers, and Elisabeth Stryker. She grew up in the New York and New Jersey area, attending Columbia High School in Maplewood, NJ, and received her BA from Wellesley College. After working briefly in Washington, D.C., she moved to New York, where she attended Columbia University and received a MA with High Honors in Modern Literature, writing her thesis on the Welsh poet Dylan Thomas.
In New York she met and married Farrell Grehan in 1959, a noted travel and nature photographer who worked regularly for publications such as National Geographic, and LIFE. The marriage ended in divorce. While in New York she also attended the Arts Students League, studying with Yasuo Kuniyoshi.
Elisabeth began her journalistic career in New York, initially by doing striking black-and-white illustrations for political journals that covered the events of the early sixties, including the elections of 1960, the Cuban Missile Crisis, and the desegregation of Ole Miss. She then began writing articles on a freelance basis to accompany her illustrations, including an article about a major mining accident in Dola, West Virginia in 1963, for which she visited the mines and interviewed miners.
At the time, when women in journalism were more the exception that the rule, Elisabeth was hired as a general reporter by The Washington Post in the mid sixties and soon became the paper’s art critic. In 1967 she married Robert C. Schleussner, Jr., an engineer and executive. She then moved back to the New York area, beginning her work for The Wall Street Journal and then The Trenton Times. In 1979, after the death of her husband, she moved to Baltimore to take on the post of Art and Architecture Critic for The Baltimore Sun.
Throughout her life, she also wrote fiction and poetry. Shortly before her death she completed her fifth collection of short stories, which will be published by BrickHouse books this summer. In her literary writing Elisabeth distilled everyday experience into stark, surreal scenarios of heightened feeling. During her time in Baltimore she was involved in a vibrant literary community, worked with small presses to publish her writings, which she often illustrated, and received numerous awards. She enjoyed residency fellowships at the MacDowell Colony, Yaddo, and the Virginia Center for the Creative Arts. Her longtime friend, US Poet Laureate Josephine Jacobsen, described her works as having “a depth of emotion and simultaneous control ... a haunting quality that will linger in the mind.” Elisabeth’s poem “Return I” was featured by Garrison Keillor in his Writer’s Almanac.
After moving to Sarasota in 2002, Elisabeth Stevens Schleussner became an active member of the Sarasota artistic community, working with Patrick Lindhardt in the printmaking department of the Ringling School of Art and Erika Greenberg-Schneider of Bleu Acier in Tampa to produce numerous etchings and creating several limited edition artist books with original etchings. These can be found in collections at the New York Public Library, Princeton University, The School of the Art Institute of Chicago, and the Staatliche Museen zu Berlin, Germany. Her work was represented by the Stakenborg Greenberg Fine Art Gallery in Sarasota. A solo show of her graphic works was presented at State College of Florida in 2015.
As a woman ahead of her time in terms of professional aspirations and achievements, she was a strong and independent personality, a staunchly loyal friend, and a loving and devoted parent and grandparent. She considered fiction writing and even higher calling than newspaper journalism. Next to her writing desk hung a quotation of Nathaniel Hawthorne: “The hall of fantasy is likely to endure longer than the most substantial structure.”
She is survived by her daughter Laura and grandson Xavier.