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NOTICE IS HEREBY GIVEN that the Annual Meeting of Members of New Canaan Society for the Arts, Inc., a Connecticut nonstock corporation, will be held at the Carriage Barn Arts Center, Waveny Park, 681 South Avenue, New Canaan, CT  on Wednesday, October 5, 2022 at 7 P.M. Eastern Standard Time and at any adjournment or postponement thereof (“Meeting”) for the purpose of electing members of the Board of Directors and transacting such other business as may properly come before the Meeting.  The Board of Directors has fixed the close of business on September 25, 2022, as the record date for the determination of those members entitled to vote at the Meeting.  

ANNUAL MEETING AGENDA:

Call to Order

Approval of NCSA – 2021 Annual Meeting Minutes from Prior Annual Meeting

A. Presentation and election of Directors:  The following candidates are presented to the members for the 2022-2023 slate of the New Canaan Society for the Arts Board of Directors:

Thomas Bernsten, Class of 2024
Svava Bragason, Class of 2025
Sveinn Bragason, Class of 2022
Michael Carusi, Class of 2024
Rich Companik, Class of 2023
Lisa Ferrante, Class of 2025
BJ Flagg, Class of 2024
Suzy Lavieri, Class of 2022
Martie Mackay, Class of 2025
Angela Piscitello, Class of 2023
Kathy Megrue-Smith, Class of 2023
Butch Quick, Class of 2025
Phillip Williams, Class of 2023

Adjournment

Panel Discussion

Blair Clarke founded Voltz Clarke and saw immediate success with the pop up formula as executed with her first exhibition, Kaleidoscope. For this collaboration with Ingrao, an elegant townhouse in uptown Manhattan, Clarke placed contemporary works by then unknown British painter Natasha Law and eccentric ‘dripper’ Shane Bradford. Thus began her signature curatorial gesture of presenting emerging talent to sophisticated audiences in unexpected venues.  It was a natural progression for a flagship gallery to be opened after over a dozen years of private art advisory. Voltz Clarke Gallery held its first exhibition in the Fall of 2015 and has continued with rigorous programming ever since.

The Columbus, Georgia native has held positions as Director of Galerie Timothy Tew in Atlanta, Georgia and Exhibition Director at Sanford Smith & Associates in Manhattan. Blair Clarke is a member of Art Table, Save Venice, Young Collectors of the Guggenheim and The Young Friends of the Louvre.

Connie Brown 
I often think of my paintings as chromatic dreamscapes filled with humor, joy and a little bit of elegance. The organic shapes, which push up against each other and the edge of the panel, resemble seeds, leaves, fruit, fish, alongside more figural forms. My studio is a riot of color, which holds no bounds. I start by layering transparent acrylic paints on unprimed panels, which, in the end are always vying for attention against saturated opaque areas, creating an interesting push and pull between foreground and background. My intention is to take all these parts, the forms, textures, color and lines to create a well-orchestrated dance.

Miggs Burroughs
I am intrigued by all the journeys, emotional, geographical and spiritual – large and small- that are part of our daily lives – from here to there and back again. Lenticular imagery allows me to explore each one in a fresh and somewhat cinematic way, because it is a medium that combines two images into one, changing from one to the other as the viewer walks by, engaging them as collaborators who choose the speed and sequence of the transitions.

Cynthia Cooper
My  work is a personal form of geometric abstraction made by arranging patterns and colors in repetitive cycles. One can see that the influence of my career as a graphic designer (where the minutiae of arranging text, cropping photos and organizing it all) has definitely influenced my work. Inventing random systems of iteration has led me to produce work that is both controlled yet unmistakably drawn by a human hand. The use of math in my work is a wry nod to the fact that many artists, and also many women, often state that they hate/fear math. My first submission is from my pool grid lane line series where I strive to suggest the rest of the pool surrounding the viewer. The next one employs prime numbers and a white-on-white color palette. The third work uses stripes that curve on mathematical tangents. The light-drenched, joyful curves burst outward with exuberant color. I think of my paintings as being optimistic and transcendent.

Robert Sachs
Until last year my trips to Coney Island have been to photograph the incredible people who go there. But something happened that I really can not explain. All of a sudden I was not satisfied unless my image were a little abstract. Camera movement, panning, slow shutter became the norm. I am submitting three images from that day. Robe