> GOT TAXES?
American artists seeking competent assistance with filing of business or
personal income taxes might consider retaining the services of Wyolah
Garden, of Kreger & Garden, in the San Francisco Bay Area. Ms. Garden has
many years experience specializing in tax matters related to artists.
She has handled VISUAL ART ACCESS taxes for twenty years, usually by long-distance.
Excellent problem solver, and planner.
Wyolah Garden, EA
Kreger & Garden
100 Tamal Plaza #106
Corte Madera, CA 94925
415-927-2100
wgarden@ix.netcom.com
Wednesday, December 20, 2006
December 2006 Page 17
> WEB CHANGES ART WORLD
LONDON, England (Reuters) -- Collector Charles Saatchi has launched a Web site for art students and a handful have already sold works online as the Internet begins to change the way the art world works.
With prices for contemporary art soaring, collectors say they have less time to travel to galleries and shows to see new works for themselves, while aspiring painters and sculptors find it hard to get noticed amid the pressure to find the next hot young stars.
For many, the Internet is the answer, offering low-cost access for thousands of painters, sculptors and buyers and, at the same time, providing a Myspace-style social networking site for artists the world over.
Saatchi, one of art's most powerful figures who helped establish such stars as Damien Hirst, has attracted more than 2,000 art students to his new Web site, a follow-up to an earlier venture for artists that boasts 20,000 contributors.
"There is something thrilling about seeing the work of young artists for the first time even before their school shows," the reclusive collector said in a statement.
The site called "STUART" (standing for "student art") is a link from his main gallery address (www.saatchi-gallery.co.uk). Saatchi has promised not to buy any art from the site for at least a year to try to make the site more independent.
For some student artists scraping a living from their work, STUART is a way of being noticed and making money.
"I am on the site because I want to sell my work," said Ben Young, a 33-year-old at the Central Saint Martins College in London. "And, obviously, you hope Charles Saatchi is watching and will magically pick up the phone and buy all your work."
While the reality for Young has been less sensational, he sold a painting within two weeks of posting his personal details and art work on the site.
"I've had my own Web site for about 18 months and hadn't sold anything through that," he said, adding that he then tried STUART after reading about it in a newspaper.
"It worked out great for me. I was on there for less than two weeks and was contacted by (collector) Bernard Jacobson and sold him a piece. It was the quickest business in my life."
Young also said he would use STUART to contact other artists who may be interested in working with him on an exhibition.
Jacobson bought the painting without having seen the real thing, only an image of it on the site.
"It's not normal for me," he told Reuters. "As I've got busier I just don't have time to go around the art schools, which I do much less than I used to.
"I thought this was a very good way of doing that."
Olivier Varenne, art adviser for an Australian museum, said he often used the Internet for research, but would not buy a work without seeing it first hand.
"I'm not very keen on buying art online, but I am using the Web for research," he explained.
"It's a great tool to look at artists and a great tool to discover new artists. But when you want to buy a piece you want to see it in the flesh."
Based on what he saw on STUART, Varenne contacted an artist while on a trip to New York and bought four works from him.
The Saatchi gallery said that interest in STUART has been so high that its Web site crashed this week after attracting more than six million hits in one day.
Copyright 2006 Reuters. All rights reserved.This material may not be published, broadcast, rewritten, or redistributed.
LONDON, England (Reuters) -- Collector Charles Saatchi has launched a Web site for art students and a handful have already sold works online as the Internet begins to change the way the art world works.
With prices for contemporary art soaring, collectors say they have less time to travel to galleries and shows to see new works for themselves, while aspiring painters and sculptors find it hard to get noticed amid the pressure to find the next hot young stars.
For many, the Internet is the answer, offering low-cost access for thousands of painters, sculptors and buyers and, at the same time, providing a Myspace-style social networking site for artists the world over.
Saatchi, one of art's most powerful figures who helped establish such stars as Damien Hirst, has attracted more than 2,000 art students to his new Web site, a follow-up to an earlier venture for artists that boasts 20,000 contributors.
"There is something thrilling about seeing the work of young artists for the first time even before their school shows," the reclusive collector said in a statement.
The site called "STUART" (standing for "student art") is a link from his main gallery address (www.saatchi-gallery.co.uk). Saatchi has promised not to buy any art from the site for at least a year to try to make the site more independent.
For some student artists scraping a living from their work, STUART is a way of being noticed and making money.
"I am on the site because I want to sell my work," said Ben Young, a 33-year-old at the Central Saint Martins College in London. "And, obviously, you hope Charles Saatchi is watching and will magically pick up the phone and buy all your work."
While the reality for Young has been less sensational, he sold a painting within two weeks of posting his personal details and art work on the site.
"I've had my own Web site for about 18 months and hadn't sold anything through that," he said, adding that he then tried STUART after reading about it in a newspaper.
"It worked out great for me. I was on there for less than two weeks and was contacted by (collector) Bernard Jacobson and sold him a piece. It was the quickest business in my life."
Young also said he would use STUART to contact other artists who may be interested in working with him on an exhibition.
Jacobson bought the painting without having seen the real thing, only an image of it on the site.
"It's not normal for me," he told Reuters. "As I've got busier I just don't have time to go around the art schools, which I do much less than I used to.
"I thought this was a very good way of doing that."
Olivier Varenne, art adviser for an Australian museum, said he often used the Internet for research, but would not buy a work without seeing it first hand.
"I'm not very keen on buying art online, but I am using the Web for research," he explained.
"It's a great tool to look at artists and a great tool to discover new artists. But when you want to buy a piece you want to see it in the flesh."
Based on what he saw on STUART, Varenne contacted an artist while on a trip to New York and bought four works from him.
The Saatchi gallery said that interest in STUART has been so high that its Web site crashed this week after attracting more than six million hits in one day.
Copyright 2006 Reuters. All rights reserved.This material may not be published, broadcast, rewritten, or redistributed.
December 2006 Page 16
> NATIONAL PHOTO COMPETITION
photoSPIVA 2007
"Oldest continuous U.S. National Photographic Competition"
Juror: John Paul Caponigro
Entry deadline: February 13, 2007
Exhibition: April 27 - June 22, 2007
Awards: $750, $500, $300, $100 x3 , $50 x3
Eligibility: Any US photographer whose work has never been exhibited at Spiva Art Center
Fees: 1-5 prints for $40
Contact www.spivaarts.org for prospectus
photoSPIVA 2007
"Oldest continuous U.S. National Photographic Competition"
Juror: John Paul Caponigro
Entry deadline: February 13, 2007
Exhibition: April 27 - June 22, 2007
Awards: $750, $500, $300, $100 x3 , $50 x3
Eligibility: Any US photographer whose work has never been exhibited at Spiva Art Center
Fees: 1-5 prints for $40
Contact www.spivaarts.org for prospectus
Tuesday, December 19, 2006
December 2006 Page 15
> SPIVA HOLIDAY GIFT BAZAAR
Last minute shopping to do this week? Think Spiva‘s Great Holiday Gift Bazaar, with… jewelry by Jessica Sellers, Connie Knudtson, Marv Dahmen, Laura Van Buren….beautifully crafted cutting boards by Howard Thompson… handpainted gourds by Lis McCool…Folk Art items by Joan Allen…pottery by Daria Claiborne, Brad Kleindl, Connie Knudtson, and Gregory Krepps…hand printed holiday cards by Fred Mintert…handwoven scarves by Jean Jack and handmade handbags by Kelly Moreland…hand dyed silk scarves and Silly Sock Creatures by Connie Knudtson…original artwork, photographs, giclees, & prints priced from $25 - $650 by Dan McWilliams, Theresa Rankin, Debbie Reed, Kelly Moreland, Hubert Willems, Jeff Youngblood, Becky Golubski, Mary Ann Soerries, Linda Teeters, Jerald Wilson, Lari Clark, John Fitzgibbon…carved walking sticks by Rick Spicer…tie-dyed baby outfits…and the hottest collectible Painted Ponies, and so much more!
OPEN Tues-Saturday 10am-5pm thru January 12, 2007
Come by this week and find just the right gift for that special someone!
(Closed Sunday & Monday, Dec 24, 25, 31, & Jan 1)
Last minute shopping to do this week? Think Spiva‘s Great Holiday Gift Bazaar, with… jewelry by Jessica Sellers, Connie Knudtson, Marv Dahmen, Laura Van Buren….beautifully crafted cutting boards by Howard Thompson… handpainted gourds by Lis McCool…Folk Art items by Joan Allen…pottery by Daria Claiborne, Brad Kleindl, Connie Knudtson, and Gregory Krepps…hand printed holiday cards by Fred Mintert…handwoven scarves by Jean Jack and handmade handbags by Kelly Moreland…hand dyed silk scarves and Silly Sock Creatures by Connie Knudtson…original artwork, photographs, giclees, & prints priced from $25 - $650 by Dan McWilliams, Theresa Rankin, Debbie Reed, Kelly Moreland, Hubert Willems, Jeff Youngblood, Becky Golubski, Mary Ann Soerries, Linda Teeters, Jerald Wilson, Lari Clark, John Fitzgibbon…carved walking sticks by Rick Spicer…tie-dyed baby outfits…and the hottest collectible Painted Ponies, and so much more!
OPEN Tues-Saturday 10am-5pm thru January 12, 2007
Come by this week and find just the right gift for that special someone!
(Closed Sunday & Monday, Dec 24, 25, 31, & Jan 1)
December 2006 Page 14
> FROM NY TIMES
December 19, 2006
G.I. Joes to the Rescue of Rembrandts and Raphaels
By RANDY KENNEDY
Through the centuries many people have been haunted by the work of Raphael, but probably few have been haunted in quite the same way as Bernard Taper.
Even now, at 88, he says he finds a certain painting continuing to surface in his memory. It is an elegant portrait of a young man that Mr. Taper knew in 1947 only from a black-and-white photograph he had been given, much in the way a detective is handed a snapshot of a missing person.
At that time, in the ruinous aftermath of World War II in Europe , the Raphael portrait was one of the most prominent masterpieces to have disappeared, but it had considerable company. Thousands of paintings, sculptures and artifacts that had been looted by the Nazis — many of them bound for Hitler’s long-envisioned Führer Museum in Linz, Austria, his boyhood home, or confiscated for the collection of Hermann Goering, Hitler’s chief art-looting rival — remained missing at war’s end.
Mr. Taper, then an Army lieutenant charged with tracking down the Raphael, spent months interrogating jailed Nazis and trying to connect the dots, but he never found the painting, which had been taken from a family museum in Krakow , Poland .
“I still dream about it sometimes,” he said in a recent interview. “I wonder if it’s out there.”
The story might sound like grist for a Dan Brown novel or a Steven Spielberg treatment. But the efforts of Allied officers and soldiers like Mr. Taper to save and repatriate stolen treasures during and after the war is a chapter of World War II history still not particularly well known. Even during the war their work — when compared with saving lives and preserving ways of life — was sometimes discounted. Some members of the military referred to these soldiers as “Venus fixers,” a term with more than a hint of the effete.
But the accomplishments of these soldiers, better known as the Monuments Men, are finally starting to come into sharper focus. “Rescuing Da Vinci,” a lavishly illustrated book devoted to them, with dozens of pictures newly unearthed from archives, has just been published by Robert M. Edsel, a retired Texas oilman. Mr. Edsel, 49, became obsessed with the story several years ago and even established a research office in Dallas , his hometown, with the goal of telling it better.
This month, in large part because of his work, Congress passed a resolution honoring the Monuments Men (whose number also included some women and civilians), saying that the value of their work “cannot be overstated and set a moral precedent” for the preservation of culture.
Mr. Edsel, who came late to an appreciation of art history, said in a recent interview that he became aware of the vast art-rescue story when he was living in Florence in the late 1990s and read “The Rape of Europa,” an award-winning book by Lynn H. Nicholas that chronicles the Third Reich’s pillaging of museums, churches and private collections.
The book goes into considerable detail about the formation and work of what became the Monuments, Fine Arts and Archives section of the United States military, some of whose members had art backgrounds and would go on to become civilian art-world luminaries, like James J. Rorimer, a future director of the Metropolitan Museum of Art, and Lincoln Kirstein, then a lowly private but later a founder of the New York City Ballet. Most of the recovery effort was American, but soldiers from more than a dozen countries also participated.
Mr. Edsel quickly became frustrated, he said, as he combed through other World War II history books and found surprisingly little about what he thought was a gripping story of high-culture derring-do. “To me,” he said, “it was like, wow, you wrote a western and left out John Wayne. I couldn’t believe it.”
Armed with the kind of bluster and directness that made him wealthy in the oil business, Mr. Edsel sought out Ms. Nicholas “pretty much cold, ” he recalls. He asked for her guidance in putting together a book devoted exclusively to the Monuments Men, a book he eventually published himself, he said, because he got “absolutely no interest” from commercial publishers.
He paid researchers who set to work in Washington , Moscow , Munich and other cities. Even as this work was under way, he said, he knew that professionals in the art world like Nancy Yeide, curator of records at the National Gallery of Art in Washington, whom he approached about finding pictures, wondered whether he was just a well-meaning dilettante.
“I could tell that she didn’t know whether to trust me, whether to think I was a kook, whether it was like some vanity project,” he said.
But Mr. Edsel kept at it, putting $2.5 million of his own money toward the project. Over time he also became a co-producer of a documentary based on Ms. Nicholas’s book, which is now making the rounds of film festivals. He is planning exhibitions of the photographs and archival material featured in the book and is now crisscrossing the country trying to find and interviewing the few living members of the Monuments Men squad, like Mr. Taper.
“The problem is, we’re in a race with time now,” Mr. Edsel said in a recent interview in New York .
The urgency of that race was underlined last month by the death of S. Lane Faison Jr., 98, an art-rescue officer who worked for the Office of Strategic Services, which helped the Monuments Men. Mr. Faison later became a renowned art professor at Williams College whose students went on to become directors and curators at many prominent American museums.
Mr. Edsel interviewed Mr. Faison before his death and tracked down several other former officers who helped recover thousands of paintings and artifacts. One, Harry Ettlinger, now 80, joined the Monuments, Fine Arts and Archives in 1945 and was assigned to sort out the contents of a vast makeshift storehouse in Heilbronn , Germany . It was a salt mine where the Nazis had hidden thousands of crates of loot, including all the stained glass removed from the Strasbourg Cathedral in France, which Mr. Ettlinger helped return.
In Mr. Edsel’s book Mr. Ettlinger can be seen in a crisp black-and-white photograph that could serve as the inspiration for a climactic movie scene: he and an officer are standing deep in the mine, staring in awe at a Rembrandt self-portrait that has just been raised from its crate.
But in a telephone interview Mr. Ettlinger said that much of the work done by the Monuments Men was not particularly cinematic. It was the tedious but immense job of archiving, translating documents, collating records and extracting needles from thousands of haystacks to ensure that works returned to their rightful homes. And it was frustrating: for every paper trail that led to a restitution, there were many more that led nowhere, and priceless works that were never found.
Of course, in the midst of the paperwork, there was a little wartime drama every so often down in the mine shafts, Mr. Ettlinger recalled.
“I remember once in a hallway I saw a doorway that was bricked in and no one knew what was behind it,” he said. He ordered someone to find out. “And lo and behold it was nitroglycerin, which was about to come along and blow us all to kingdom come, never mind the art.”
Mr. Edsel said the more he delved into the stories of the men, the more amazed he became at how little Americans seem to know about it, especially in an era with a newfound devotion to the Greatest Generation.
So, he was asked, is a feature film somewhere down the road?
He smiled and, in his best Texas dare-me voice, said not to rule it out.
“This has got heroes,” he said. “It’s got buried treasure. It’s got untold stories. It’s got everything. You want excitement? We’ve got it in spades right here.”
>NATIONAL ARTS ADVOCACY DAY
National Arts Advocacy Day
Omni Shoreham Hotel, Washington, DC
March 12–13, 2007
Congressional Arts Breakfast
Arts Advocacy Training
Meet with Your Members of Congress
20th Annual Nancy Hanks Lecture
on the Arts and Public Policy
Featuring:
Robert MacNeil
Chairman of the Board of The MacDowell Colony
Previously the Executive Editor and Co-Anchor of
The MacNeil-Lehrer NewsHour on PBS
REGISTER NOW!
Registration is now open! Three easy ways to register:
Register online
Register by mail
Download our printable PDF registration form and mail to:
Americans for the Arts
PO Box 91261
Washington, DC 20090-1261
Register by fax
Download our printable PDF registration form and fax to:
F 202.371.0424
Attn: Meetings and Events
Reserve your hotel room at the discounted rate by February 23, 2007.
> ALCOHOL SALES FUEL ART NON-PROFIT EARNED INCOME/FUND RAISING
SPECIAL BULLETIN
ArtServe Michigan
GRAAND
GrassRoots Arts Advocacy Network Distribution
Editor: Drew Buchholz
2006 Issue 21
House Bill 5853
"This bill amended the Michigan Liquor Control Code to allow the Liquor Control Commission to grant up to 12, rather than five, special licenses to a nonprofit organization in a calendar year.
The Code defines "special license" as a contract between the Liquor Control Commission and the licensee to sell beer, wine, or spirits for a one day event. The fee for a special license is $50 per day for nonprofit organizations established for less than one year, or $25 per day for nonprofit organizations established for one year or more.
Previously not more than five special licenses could be granted to any one organization in a calendar year. The bill increases that number to 12."
December 19, 2006
G.I. Joes to the Rescue of Rembrandts and Raphaels
By RANDY KENNEDY
Through the centuries many people have been haunted by the work of Raphael, but probably few have been haunted in quite the same way as Bernard Taper.
Even now, at 88, he says he finds a certain painting continuing to surface in his memory. It is an elegant portrait of a young man that Mr. Taper knew in 1947 only from a black-and-white photograph he had been given, much in the way a detective is handed a snapshot of a missing person.
At that time, in the ruinous aftermath of World War II in Europe , the Raphael portrait was one of the most prominent masterpieces to have disappeared, but it had considerable company. Thousands of paintings, sculptures and artifacts that had been looted by the Nazis — many of them bound for Hitler’s long-envisioned Führer Museum in Linz, Austria, his boyhood home, or confiscated for the collection of Hermann Goering, Hitler’s chief art-looting rival — remained missing at war’s end.
Mr. Taper, then an Army lieutenant charged with tracking down the Raphael, spent months interrogating jailed Nazis and trying to connect the dots, but he never found the painting, which had been taken from a family museum in Krakow , Poland .
“I still dream about it sometimes,” he said in a recent interview. “I wonder if it’s out there.”
The story might sound like grist for a Dan Brown novel or a Steven Spielberg treatment. But the efforts of Allied officers and soldiers like Mr. Taper to save and repatriate stolen treasures during and after the war is a chapter of World War II history still not particularly well known. Even during the war their work — when compared with saving lives and preserving ways of life — was sometimes discounted. Some members of the military referred to these soldiers as “Venus fixers,” a term with more than a hint of the effete.
But the accomplishments of these soldiers, better known as the Monuments Men, are finally starting to come into sharper focus. “Rescuing Da Vinci,” a lavishly illustrated book devoted to them, with dozens of pictures newly unearthed from archives, has just been published by Robert M. Edsel, a retired Texas oilman. Mr. Edsel, 49, became obsessed with the story several years ago and even established a research office in Dallas , his hometown, with the goal of telling it better.
This month, in large part because of his work, Congress passed a resolution honoring the Monuments Men (whose number also included some women and civilians), saying that the value of their work “cannot be overstated and set a moral precedent” for the preservation of culture.
Mr. Edsel, who came late to an appreciation of art history, said in a recent interview that he became aware of the vast art-rescue story when he was living in Florence in the late 1990s and read “The Rape of Europa,” an award-winning book by Lynn H. Nicholas that chronicles the Third Reich’s pillaging of museums, churches and private collections.
The book goes into considerable detail about the formation and work of what became the Monuments, Fine Arts and Archives section of the United States military, some of whose members had art backgrounds and would go on to become civilian art-world luminaries, like James J. Rorimer, a future director of the Metropolitan Museum of Art, and Lincoln Kirstein, then a lowly private but later a founder of the New York City Ballet. Most of the recovery effort was American, but soldiers from more than a dozen countries also participated.
Mr. Edsel quickly became frustrated, he said, as he combed through other World War II history books and found surprisingly little about what he thought was a gripping story of high-culture derring-do. “To me,” he said, “it was like, wow, you wrote a western and left out John Wayne. I couldn’t believe it.”
Armed with the kind of bluster and directness that made him wealthy in the oil business, Mr. Edsel sought out Ms. Nicholas “pretty much cold, ” he recalls. He asked for her guidance in putting together a book devoted exclusively to the Monuments Men, a book he eventually published himself, he said, because he got “absolutely no interest” from commercial publishers.
He paid researchers who set to work in Washington , Moscow , Munich and other cities. Even as this work was under way, he said, he knew that professionals in the art world like Nancy Yeide, curator of records at the National Gallery of Art in Washington, whom he approached about finding pictures, wondered whether he was just a well-meaning dilettante.
“I could tell that she didn’t know whether to trust me, whether to think I was a kook, whether it was like some vanity project,” he said.
But Mr. Edsel kept at it, putting $2.5 million of his own money toward the project. Over time he also became a co-producer of a documentary based on Ms. Nicholas’s book, which is now making the rounds of film festivals. He is planning exhibitions of the photographs and archival material featured in the book and is now crisscrossing the country trying to find and interviewing the few living members of the Monuments Men squad, like Mr. Taper.
“The problem is, we’re in a race with time now,” Mr. Edsel said in a recent interview in New York .
The urgency of that race was underlined last month by the death of S. Lane Faison Jr., 98, an art-rescue officer who worked for the Office of Strategic Services, which helped the Monuments Men. Mr. Faison later became a renowned art professor at Williams College whose students went on to become directors and curators at many prominent American museums.
Mr. Edsel interviewed Mr. Faison before his death and tracked down several other former officers who helped recover thousands of paintings and artifacts. One, Harry Ettlinger, now 80, joined the Monuments, Fine Arts and Archives in 1945 and was assigned to sort out the contents of a vast makeshift storehouse in Heilbronn , Germany . It was a salt mine where the Nazis had hidden thousands of crates of loot, including all the stained glass removed from the Strasbourg Cathedral in France, which Mr. Ettlinger helped return.
In Mr. Edsel’s book Mr. Ettlinger can be seen in a crisp black-and-white photograph that could serve as the inspiration for a climactic movie scene: he and an officer are standing deep in the mine, staring in awe at a Rembrandt self-portrait that has just been raised from its crate.
But in a telephone interview Mr. Ettlinger said that much of the work done by the Monuments Men was not particularly cinematic. It was the tedious but immense job of archiving, translating documents, collating records and extracting needles from thousands of haystacks to ensure that works returned to their rightful homes. And it was frustrating: for every paper trail that led to a restitution, there were many more that led nowhere, and priceless works that were never found.
Of course, in the midst of the paperwork, there was a little wartime drama every so often down in the mine shafts, Mr. Ettlinger recalled.
“I remember once in a hallway I saw a doorway that was bricked in and no one knew what was behind it,” he said. He ordered someone to find out. “And lo and behold it was nitroglycerin, which was about to come along and blow us all to kingdom come, never mind the art.”
Mr. Edsel said the more he delved into the stories of the men, the more amazed he became at how little Americans seem to know about it, especially in an era with a newfound devotion to the Greatest Generation.
So, he was asked, is a feature film somewhere down the road?
He smiled and, in his best Texas dare-me voice, said not to rule it out.
“This has got heroes,” he said. “It’s got buried treasure. It’s got untold stories. It’s got everything. You want excitement? We’ve got it in spades right here.”
>NATIONAL ARTS ADVOCACY DAY
National Arts Advocacy Day
Omni Shoreham Hotel, Washington, DC
March 12–13, 2007
Congressional Arts Breakfast
Arts Advocacy Training
Meet with Your Members of Congress
20th Annual Nancy Hanks Lecture
on the Arts and Public Policy
Featuring:
Robert MacNeil
Chairman of the Board of The MacDowell Colony
Previously the Executive Editor and Co-Anchor of
The MacNeil-Lehrer NewsHour on PBS
REGISTER NOW!
Registration is now open! Three easy ways to register:
Register online
Register by mail
Download our printable PDF registration form and mail to:
Americans for the Arts
PO Box 91261
Washington, DC 20090-1261
Register by fax
Download our printable PDF registration form and fax to:
F 202.371.0424
Attn: Meetings and Events
Reserve your hotel room at the discounted rate by February 23, 2007.
> ALCOHOL SALES FUEL ART NON-PROFIT EARNED INCOME/FUND RAISING
SPECIAL BULLETIN
ArtServe Michigan
GRAAND
GrassRoots Arts Advocacy Network Distribution
Editor: Drew Buchholz
2006 Issue 21
House Bill 5853
"This bill amended the Michigan Liquor Control Code to allow the Liquor Control Commission to grant up to 12, rather than five, special licenses to a nonprofit organization in a calendar year.
The Code defines "special license" as a contract between the Liquor Control Commission and the licensee to sell beer, wine, or spirits for a one day event. The fee for a special license is $50 per day for nonprofit organizations established for less than one year, or $25 per day for nonprofit organizations established for one year or more.
Previously not more than five special licenses could be granted to any one organization in a calendar year. The bill increases that number to 12."
Sunday, December 17, 2006
December 2006 Page 13
> 20TH ANNIVERSARY REUNION PARTY - VISUAL ART ACCESS
You and friends of VAA or AMERICAN SURREALIST INITIATIVE are invited...
Sunday
January 28th
3-5PM
801 25th St. (Corner of Illinois)
San Francisco
Jerry Barrish studio (2 story building, good parking)
Bring snack food or beverages, portfolio, photographs, camera
See you there, everyone welcome!
You and friends of VAA or AMERICAN SURREALIST INITIATIVE are invited...
Sunday
January 28th
3-5PM
801 25th St. (Corner of Illinois)
San Francisco
Jerry Barrish studio (2 story building, good parking)
Bring snack food or beverages, portfolio, photographs, camera
See you there, everyone welcome!
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