Wednesday, December 30, 2009

Asian Art Museum: RIng that bell

Ring out the old, ring in the new at the 24th Annual Japanese Bell Ringing Ceremony.
As in the past, a 2100-lb., sixteenth-century Japanese bronze bell originally from a temple in Tajima Province in Japan and now part of the museum's permanent collection will be struck 108 times with a large custom-hewn log. According to Japanese custom, this symbolically welcomes the New Year and curbs the 108 bonno (mortal desires) which, according to Buddhist belief, torment humankind. Located in the foyer of the museum, people line up and in groups, strike the bell together. It is hoped that with each reverberation the bad experiences, wrong deeds, and ill luck of the past year will be wiped away. Thus, tolling heralds the start of a joyous, fresh New Year.

The greatest achievement is selflessness.
The greatest worth is self-mastery.
The greatest quality is seeking to serve others.
The greatest precept is continual awareness.
The greatest medicine is the emptiness of everything.
The greatest action is not conforming with the worlds ways.
The greatest magic is transmuting the passions.
The greatest generosity is non-attachment.
The greatest goodness is a peaceful mind.
The greatest patience is humility.
The greatest effort is not concerned with results.
The greatest meditation is a mind that lets go.
The greatest wisdom is seeing through appearances.
Atisha (11th century Tibetan Buddhist master)

There will be a short performance of Japanese folk songs preceding the ceremony. Then, Zen Buddhist priest Gengo Akiba Roshi will conduct a blessing and begin the bell ringing. Akiba Roshi is director of the Soto Zen Buddhism North American office. He is also Zen teacher at Oakland's Kojin-an Zendo.

Numbered tickets to ring the bell are assigned to visitors on a first-come, first-serve basis in South Court beginning at 10:00 am, when the museum opens to the public.
No advance reservations are accepted. 108 groups of four to six people will be assembled to strike the bell
Thursday, December 31, 2009
FREE with museum admission
Children 12 and under always admitted free!
9:30–11:00 am: Bell Ringing for Asian Art Museum Members
10:00 am–2:00 pm: Art Activities
11:00 am: Bell Ringing Ceremony

Mindfulness and the Buddhist Way:
Eightfold Path:
Four Noble Truths:
108 Mortal Desires:
 Images courtesy of the Asian Art Museum/photographer J. Yin

Monday, December 28, 2009

A Few of My Favorite Things from 2009

I had a great Christmas - not many gifts because my friends and family don't "do" gifts. But I went to a friend's house for a delicious dinner where I ate too much, enjoyed the fabulous view from her apartment in North Beach and...well, ate too much. Plus wine! VINO! This has been the best year yet in retirement with my on-line journalism opening the doors that I always failed to open in the past.

Every Monday, I wake up and think - I don't have to go to work today! I hear the tales of the psychotic bullies that still rule UC and rejoice that I am no longer being ground under their feet. Nobody now is taking the credit for my work or has the power to make my life miserable just because they get their jollies that way. When I was still part of the peon workforce, I had supervisor after supervisor who dumped their job on me and then, took all the credit. Even when the doctors that I worked for SAW me do the work, they ignored that little fact and praised and rewarded the dishonest jerks who were at the top of the greasy pole.

I don't make much money from being an art critic; on-line papers are not the best paying places but the emotional and intellectual rewards are, for me, fantastic! I get to preview every museum show in the Bay Area. I get daily e-mails from artists and organizations, tons of information and more images that I can process in two lifetimes. But the best part is meeting all the great people - the bloggers, the museum people, the curators and behind-the-scenes assistants, the gallery owners and the artists. I don't have to apologize for having a brain or a passionate interest in art. I don't have to hide who I am or pretend to be stupid for fear of threatening some supervisor with no brains or ethics. I can do without my upstairs neighbor and his loud music. He's young, rich, inconsiderate and dumb but I can deal with it because there are so many more wonderful things in my life. I know that it's been a dreadful year for finances and wars that seem to go on forever and politics that are the same old, same old. My savings have taken a hit as well but I can manage because I'm lucky enough to live frugally.

I came to San Francisco over forty years ago to be an artist. I'm still painting and now, I'm learning how to be a journalist. There may not be a Santa Claus but for me, miracles do happen. 

Moore on Paintings
"The many great paintings of the world, all make the point as clear as possible: The soul cannot thrive in the absence of art. If you don't want the pleasure of art, you are not human; and if you are not human, you don't have a soul."

Frank Lobdell at the Cantor Art Center: Drawings from life

Vjrabhairava Tanka from Bhutan - Asian Art Museum

Scarab broach from the Cartier Exhibit: FAMSF (Legion)

David Park - Bathers II (1955/56) SFMOMA (75th Anniversary Celebration)

Amish Abstractions: FAMSF (De Young)

Friday, December 25, 2009


“One act of beneficence, one act of real usefulness, is worth all the abstract sentiment in the world.” ~ Ann Radcliffe

If you can make only one offering this season, make it to this group. Julie (of Tangobaby) told me about them when she was trying to help a homeless family earlier this year. The story didn't turn out as she hoped but in the meantime, she met these women who are doing so much with so little.
Read the full story here: Tangobaby, Not Full Circle 
Image by Julie Michelle/used with permission 

Thursday, December 24, 2009

Stand By Me

Repairing the World

Another year is almost over and 2010 is racing toward us, full of dreams, hopes, wishes and more than it's share of disappointment. It seems a good time to point the ancient tradition of Tikkum Olam. "Tikkun olam" (literally, "world repair") has come to connote social action and the pursuit of social justice. The phrase has origins in classical rabbinic literature and in Lurianic kabbalah, a major strand of Jewish mysticism originating with the work of the 16th-century kabbalist Isaac Luria. May we do our share of world repair in the days to come.

The term "mipnei tikkun ha-olam" (perhaps best translated in this context as "in the interest of public policy") is used in the Mishnah (the body of classical rabbinic teachings codified circa 200 C.E.). There, it refers to social policy legislation providing extra protection to those potentially at a disadvantage--governing, for example, just conditions for the writing of divorce decrees and for the freeing of slaves.

In reference to individual acts of repair, the phrase "tikkun olam" figures prominently in the Lurianic account of creation and its implications: God contracted the divine self to make room for creation. Divine light became contained in special vessels, or kelim, some of which shattered and scattered. While most of the light returned to its divine source, some light attached itself to the broken shards. These shards constitute evil and are the basis for the material world; their trapped sparks of light give them power.

The first man, Adam, was intended to restore the divine sparks through mystical exercises, but his sin interfered. As a result, good and evil remained thoroughly mixed in the created world, and human souls (previously contained within Adam's) also became imprisoned within the shards.

The "repair," that is needed, therefore, is two-fold: the gathering of light and of souls, to be achieved by human beings through the contemplative performance of religious acts. The goal of such repair, which can only be effected by humans, is to separate what is holy from the created world, thus depriving the physical world of its very existence—and causing all things return to a world before disaster within the Godhead and before human sin, thus ending history.

While contemporary activists also use the term "tikkun olam" to refer to acts of repair by human beings, they do not necessarily believe in or have a familiarity with the term’s cosmological associations. Their emphasis is on acts of social responsibility, not the larger realm of sacred acts--and on fixing, not undoing, the world as we know it.

The phrase "tikkun olam" was first used to refer to social action work in the 1950s. In subsequent decades, many other organizations and thinkers have used the term to refer to social action programs; tzedakah (charitable giving) and gemilut hasadim (acts of kindness); and progressive Jewish approaches to social issues. It eventually became re-associated with kabbalah, and thus for some with deeper theological meaning.

Thus, over time tikkun olam went from being part of the religious technology of medieval mystics to a standard part of the vocabulary of contemporary North American Jews. Its goal shifted from dissolving history to advancing it.But the phrase “tikkun olam” remains connected with human responsibility for fixing what is wrong with the world. It also appears to respond to a profound sense of deep rupture in the universe, which speaks as much to the post-Holocaust era as it did in the wake of the expulsion from Spain and other medieval Jewish disasters.

Wednesday, December 23, 2009

A good day for art in the Bay Area

Noguchi sculpture in front of a Lobdell Painting (image courtesy Cantor Art Center)

It's a good day for art in the 'hood: Stanford gets a Noguchi - as usual, Baker gets the scoop:

I remember visiting the Noguchi museum and garden in NY years ago and being enchanted with his art; this doesn't look like one of his better pieces but I will reserve judgment until I see it in person.

 and the De Young gets to keep some of the prize items in the  New Guinea/ Oceanic Collection

Now, what I want to know is how I can be on the cutting edge of getting this type of information? I love being an arts journalist and, while I know that I have a long ways to go and much to learn, it's frustrating to only find out the important things after the fact. I'm more than happy to be writing about art in a more "official" capacity but it's certainly clear that art bloggers (at least those not on the national level) don't get no respect.

Tuesday, December 22, 2009

SFMOMA: Dispatches from the archives

A few weeks ago, a new exhibition opened at the Koret Visitor Education Center called Dispatches from the Archives. Organized by Stephanie Pau, it's part of the museum's 75th year anniversary celebration. She organized ephemera from the past eight decades of the museum’s printed history—exhibition posters, mailings, publications, and design objects.  Ms. Pau chose to include things not just for their aesthetic qualities but for the stories they told—of the artists, projects, and innovative programs SFMOMA has hosted from its inception.

SF MOMA: The Anniversary Show - Celebrating 75 years

If you are to make one New Year's resolution this year, it should be to go and see this important, thoughtful show. And, to make this an even more enticing idea, looking at all this glorious art is non-fattening, life enhancing and even (sometimes) mind blowing.

The Anniversary Show at SF MOMA celebrates 75 years of the institution's history by tracing the art and individuals that have made it what it is today. Throughout the coming year, the museum will present a series of exhibitions under the heading "75 Years of Looking Forward" illustrating the story of the artists, collectors, cultural mavericks, and San Francisco leaders who founded, built, and have animated the museum.

Above: The original building at 401 Van Ness where the museum was housed from 1935 to 1995. Below, Pollack's Guardians of the Spirit, bought for $500 by Grace Morley in 1945)

Co-organized by Janet Bishop, SFMOMA curator of painting and sculpture; Corey Keller, associate curator of photography; and Sarah Roberts, associate curator of collections and research, and assembling some 400 works of art, "The Anniversary Show" highlights both the significant and the idiosyncratic while considering the moments when SFMOMA helped shape the understanding and appreciation of modern and contemporary art locally and worldwide. The exhibition relates many behind-the-scenes stories as it chronicles the events that shaped SFMOMA and established the commitment to innovation, artistic collaboration, and community engagement that the museum maintains in the present moment.

"The Anniversary Show" begins on the second-floor landing with an introductory selection titled San Francisco Views, 1935 to Now. Featuring some three dozen works of art, this presentation sets the stage for the exhibition with images of San Francisco created by a host of artists in a variety of media. Ranging from Gabriel Moulin's 1935 photograph "San Francisco" to a 1962 painting by James Weeks titled "Looking West" from "Spanish Fort—Baker Beach", to a 1998 drawing by Rigo 98 titled "Study for Looking at 1998 San Francisco from the Top of 1925", and a poster by Martin Venezky titled "San Francisco Prize Poster: Harvey Milk Plaza, 2000", this grouping of works reveals the many ways the city has inspired artists over the last three quarters of a century.

The first gallery in the exhibition focuses on the local, national, and international impact of local patron Albert M. Bender. Bender's personal interests in Mexican modernism, photography, and the art of the Bay Area gave an initial shape to the museum's core collection. His early gifts included many highlights of the collection, such as "Trees in Snow in Front the Ahwahnee Hotel, Yosemite Valley, California" (1929) by Ansel Adams; Frida Kahlo's "Frieda and Diego Rivera" (1931); Diego Rivera's "The Flower Carrier" (1935); and "Two Shells" (1927) by Edward Weston. Bender not only gave art to the museum, but also established a fund to buy what he called "contemporaneous" art. Bender's support for living artists and his passionate engagement with both his own local art community and those more geographically and culturally distant are values that SFMOMA still embraces today.

In an adjacent gallery, the exhibition explores the tremendous legacy of the museum's founding director (1935–1958), Grace McCann Morley, her efforts to build the modernist collection, and the fervor with which she pursued her conviction that art was an essential part of everyday life. This is a long overdue acknowledgment of the single most important figure in SF MOMA's history. It was her gumption and drive that enabled the museum to flourish in the middle of the Great Depression. Key acquisitions led by Morley are showcased, including works by Constantin Brancusi, Georges Braque, Marc Chagall, Salvador Dali, Paul Klee, Henri Matisse, Pablo Picasso, and Yves Tanguy, among others. Her typewritten notes and correspondence, displayed in the first two galleries, is an important addition to understanding the early days of the museum.

The exhibition then considers the dialogue between American modernist painters and photographers through the story of Ansel Adams, Georgia O'Keeffe, and Morley working together to bring about an important 1952 acquisition of photographs from the estate of Alfred Stieglitz. Photographs by Stieglitz, Charles Sheeler, and Paul Strand are juxtaposed with paintings by O'Keeffe, Helen Torr, and Arthur Dove to demonstrate both the shared and distinct artistic concerns of the circle of artists associated with Stieglitz.

The following gallery illustrates the little-known activities of the museum during World War II, when the museum offered a wealth of diverse programs in support of the community. Exhibitions protesting the war took place alongside screenings of educational films meant to prepare citizens for the possibility of air raids, and the museum provided special programs to find work for artists and offer respite for servicemen during this trying time. Morley was able to obtain a loan of Guernica which was shown at the museum during the war.

Jackson Pollock's "Guardians of the Secret" (1943) stands at the center of the next gallery, which considers Morley's exhibitions program and the lengths she went to in order to show the work of the most advanced and, in some cases, most unfamiliar artists she could find. In addition to the remarkable story of the 1945 Pollock show, the gallery will tell the story of a 1941 Alexander Calder exhibition that Morley discovered in late September and managed to install at the museum by November 4. More surprising is the selection of bright watercolors by Rhodesian schoolboys that Morley brought into the galleries as a benefit for a school she had visited in that country (now Zimbabwe) in 1956.

The next gallery chronicles the early history of the museum's engagement with architecture and design objects, an extension of Morley's impulse to sensitize the public to the presence of good design principles in commonly used objects and in the built environments of home and city. Underpinning much of the museum's programming in the early decades was Morley's conviction that art was an essential part of everyday life. Perhaps the highest profile expressions of this agenda were the museum's television programs 'Art in Your Life' and 'Discovery'—the first ever television programs devoted to art—clips of which can be viewed on a vintage television in this gallery.

David Park
The museum's collegial relationship in the 1940s and 1950s with the California School of Fine Arts (now the San Francisco Art Institute) provides the focus of the following gallery. Faculty and students—among them Charles Howard, Robert Howard, Adaline Kent, Mark Rothko, Clyfford Still, and Minor White—regularly exhibited their work at the museum and supported the museum's activities by bringing students to study works of art in exhibitions, teaching classes in the museum's education program, and designing posters and brochures. Both the museum and the school were founded under the auspices of the San Francisco Art Association, and the museum served as the venue for the association's annual exhibitions for three decades. In the 1950s participants included Elmer Bischoff, Richard Diebenkorn, and David Park, and Bay Area figurative painting surfaced within the context of these shows.

The next gallery celebrates a group of artists who deliberately disregarded traditional boundaries between media and whose work is central to SFMOMA's collection: Robert Rauschenberg (whose work SFMOMA acquired through the passion and generosity of the museum's great patron Phyllis Wattis) and two San Francisco Beat artists, Bruce Conner and Jay DeFeo. The following Anderson gallery highlights the museum's American Pop art collection, anchored by a major gift from local collectors Harry W. and Mary Margaret Anderson, a group of works that includes such favorites as Rouen Cathedral Set V (1969) by Roy Lichtenstein and Land's End (1963) by Jasper Johns.

Conceptual art in the Bay Area is at the focus of the next gallery, illuminating the critical role of media art with groundbreaking work by Howard Fried and Bruce Nauman. Multimedia works by Eleanor Antin, Terry Fox, David Ireland, and Tom Marioni and a grouping of photographs by Mike Mandel and Larry Sultan further illustrate the heterogeneity of this complex field. The exhibition then focuses on Postminimalism, a major strength of the museum's collection and exhibition program. The gallery includes seminal works by Eva Hesse, Sol LeWitt, and Richard Tuttle, as well as artist Dan Fischer's exacting drawing of Tuttle working at SFMOMA on the occasion of his 2005 retrospective.

Two important ongoing exhibition series, "New Work" (launched in 1987) and the "SECA Art Award" (begun in 1967), are the subject of the following galleries, underscoring the museum's continuing commitment to contemporary art. Additional galleries focus on unique facets of the museum's programs: the architecture and design department's outstanding collection of wood chairs and visionary urbanism, and the photography department's extensive holdings of snapshots and other forms of vernacular photography.
 All images courtesy of SF MOMA

Sunday, December 20, 2009

Think Global, Shop local and support your local artists.

I strongly suspect that anybody who reads this blog can't afford a fraction of the bling now on display at the Legion. As for me, I think that if I actually had twenty million dollars, I'd be ashamed to spend it on a rock to hang around my neck, no matter how shiny and glittering. I confess that I do own a tiara; it's rather tarnished now but I couldn't give it up for anything. It was given to me by my dear (now departed) friend Bobby Campbell, one of the founders of the Sisters of Perpetual Indulgence. We worked together at Davies, during the nightmare days of the first wave of the AIDS epidemic when nobody knew what to call the disease, much less how to cure it. We were on a shopping expedition to Cliff's on Castro Street - to cheer ourselves up after a long weekend stint. It was rhinestone and I think cost all of $2.99; after I previewed the show at the Legion last week I pulled it out of storage and shined the rhinestones for old time's sake. Naturally they will never glitter like the Star of South Africa but they shine for me because I remember my dear friend, his indomitable spirit and all the laughs we had together.

Many of the artists who post at BAAQ have been struggling through the recession just like the rest of us. While I'm a part of the group, I'm not promoting myself but suggesting that any of them would be more than glad to sell you a piece or two of art - toys can be broken, clothing goes out of style, today's pop song is tomorrow's trash but a good piece of art is a joy forever. Check out the names on the side bar and send them an e-mail; I'm sure that they will be glad to hear from you (if you are a sincere buyer). If anybody who reads this wants to post a link to a local shop or artist, please feel free to do so in the comments section. It goes without saying that all SPAM will be deleted. That's certainly NOT in the Christmas spirit

Greg Dewar has a ton of suggestions on local artists, local craft stores and how to shop with a conscience while getting nice things for Christmas..

Julie, who writes the blog Tangobaby and is now a member of the photo group, Caliber, also sells her photographs through Tedda Hughes on Polk St.

Cartier Tiara, 1925/image courtesy of the FAMSF

Friday, December 18, 2009

Thursday, December 17, 2009

The continued underevaluation of art bloggers

Interesting post with even more interesting comments up at Sharon Butler's Blog, Two Coats of Paint:

Tuesday, December 15, 2009

Asian Art Museum: Revisiting the colleciton

 Ritual vessel (zun or gui) in the shape of a rhinoceros, probably late 1100s–1050 BCE. China; reportedly Shouchang, Shandong province. Shang dynasty, late phase (1300–1050 BCE). Bronze. The Avery Brundage Collection, B60B1+.

With three floors full of stunningly beautiful and historically important artworks, and an exciting show on the ground floor, it's easy to overlook the smaller pieces. I am particularly fond of the netsuke but this piece also caught my eye. It's featured on the website in this month's Asian museum membership drive, Alas, you don't get a reproduction as a membership gift, although that's not a bad idea, as the small size and engaging expression remind me of the Met's very famous and very popular blue hippo which has been featured in several different reproductions, from small ceramic figures, ties and even a coloring book.

Saturday, December 12, 2009

Saturday Grab Bag

Don't shop the chain stores! Think global, shop local and support your local artists:
Mission Holiday Block Party: 

The Whitney 2010: Three guess as to where most of them live. Is the art world still centered on NY? You betcha!

Interesting discussion panel at Art Miami on the role of art bloggers - moderated by Joanne Mattera.

I think that it's dangerous to be reading the NY Times on a rainy day in SF but I see that they agree with me on big museums. I knew that I was right!

Friday, December 11, 2009

RIP to the man who made the mummies dance: Thomas Hoving dead at 78

Colorful and controversial former Metropolitan Museum of Art director Thomas Hoving died in his Manhattan home yesterday of cancer; he was 78 years old. Hoving headed the museum between 1967 and 1977. More than anyone else, he brought the Met (with other museums tagging behind) out of the stone ages, making it a vibrant, exciting and controversial institution.Under his leadership, he wrote, “the most sweeping revolution in the history of art museums had taken place.”
NY TImes

Charlie Finch, Art Net Magazine
"A diamond square peg in a dusty round hole, Tom Hoving did more to change the cultural landscape of New York and the contemporary art world than any single human being, even Andy Warhol. You can read the details in his memoirs, which he courageously penned recently for Artnet Magazine, but let us consider what Hoving hath wrought. The blockbuster museum exhibition was his creation. Before Tom arrived, the Metropolitan Museum had all the sex appeal of a monastery.

"The major auction purchase? I give you Velásquez’ Juan de Pareja (1650), a newly minted 20th-century rediscoveries of Tom. Race and class cultural controversy in an art context? Tom's show "Harlem on My Mind," pissing people off decades before Mapplethorpe and Serrano."
ArtNet Magazine

An appreciation by Richard Lacayo (Time Magazine)

Culture Girl: Culture Girl

Wall Street Journal: Met Director made art the main event
Wall Street Journal

Wednesday, December 9, 2009

Museum of Craft and Folk Art Christmas Sale: 50x50x50

Here's another in my sporadic series of "support your local artist" or think global, shop local. The Museum of Craft and Folk Art is having a Christmas sale, featuring fifty pieces by fifty local crafts people and all under $50 each.  With items ranging from jewelry and glass to ceramics and kid’s toys, you can get unique, handcrafted gifts for everyone on your list! If you can’t make it to the store, you can shop via their ETSY shop on line.

A percentage from the sales will go to the “Craft Emergency Relief Fund. The Craft Emergency Relief Fund is committed to supporting the careers of craft artists throughout the United States. Through business and career-strengthening programs, emergency relief support, advocacy and research CERF helps professional craft artists strengthen and sustain their careers so that they can thrive and, thus, contribute to the quality of life in our communities.

Museum of Craft & Folk Art
51 Yerba Buena Lane
San Francisco, CA 94103

Monday, December 7, 2009

Mexican Museum Reopens in Ft. Mason on December 19th

Anticipating a move to downtown San Francisco The Mexican Museum at Ft. Mason closed down a couple of years ago, Unfortunately, the funding never came through and the museum has been in limbo for at least four years. But Garrett McAuliffe reports that the Mexican Museum will open its doors for the first time since 2006 with a show highlighting the Christmas traditions of Mexico.

"Funding from the city has begun to trickle in, money marked for development as the museum inches closer to a permanent move downtown at Yerba Buena Gardens. But that project is still years from completion. In the meantime, the ten-member board has worked hard to resuscitate the museum's tentative existence at Fort Mason, and bring some of its 12,000 works back into view relying on personal resources and the support of volunteers."

"We are finally in a very good space where we are working in a positive way with our partners," said Mario Diaz, co-chair of the board. "Our priority now is to get the collection in front of the eyes of the public."

Under a short-term lease extension, the Mexican Museum has already reopened its store La Tienda and will debut its new exhibit on Saturday, December 19th, a huge step forward for the non-profit after it recently appeared they would have to move their entire collection at great expense.

Read more:

Sunday, December 6, 2009

Grab Bag: Fisher in 2010, Contemporary Torah and Joanne Mattera in Miami

At part of their 7tth Anniversary celebration, SF MOMA will show 300 works from the Fisher collection next year. Baker has the scoop.

Dialogue with the Torah at the Contemporary Jewish Museum

 Dialogue with the Torah
Is it or isn't it art: Joanne Mattera
New piece up at: SF Museum Examiner

Wednesday, December 2, 2009

National Museum for Women in the Arts: 12 Days for Good

Jaune Quick-to-See Smith, Four Directions, 1994. Lithograph with linocut collage, 44 1/2 x 30 in. National Museum of Women in the Arts.

The National Museum of Women in the Arts was selected as one of 12 nonprofit organizations to compete in Avon’s 12 Days For Good: The Online Holiday Charity Shopping Event.  Not only will NMWA receive 20% of your purchase total as a cash donation, but we’re also in the running for a 12% bonus of the money raised by all 12 charities combined.  The charity competition starts Friday, November 27th, and ends Tuesday, December 8th.
You can shop the full range of Avon’s product line including:  home decor, fashion, jewelry, kids, bath, body, and beauty products.  Also, check out the “Really Good Gifts” list that you can download at to help guide you to some of the best gifts to give this season.  Orders totaling $30 or more will receive free shipping.

Here’s how it works:

1. Visit  Click on the “Shop for the National Museum of Women in the Arts” link to open a special dedicated shopping page in Avon’s Online Store.
2. Click the “Shop my online event” button
3. Complete your purchase online.
Shopping, saving, and doing good couldn’t be easier this holiday season.  Thanks for your support!

About the Author: Susan Cuff is NMWA’s Member Services Associate.
National Museum for Women in the Arts