Contemporary Artists of Brooklyn
- Dates: January 9, 1972 through February 6, 1972
- Organizing Department: Community Gallery
January 3, 1972: An exhibition of paintings, sculpture and graphics by CONTEMPORARY ARTISTS OF BROOKLYN (CAB), a professional interracial group of twenty-two (22) artists from the various areas of Brooklyn, will open in the Community Gallery of the Brooklyn Museum on Sunday, January 9, 1972, with an Artists’ Reception from 2:00 to 5:00. The show will remain on public view through February 6, and admission is free.
Formed in 1968, the same year the Gallery was inaugurated, CONTEMPORARY ARTISTS OF BROOKLYN, with Gertrude Sappin as its president, has continued as a significant cultural force in the community, exhibiting in Brooklyn College, Long Island University, the Ingersoll Library, among others. Many of the artists have received important awards and prizes, as well as one-man shows and are represented in numerous private and public collections.
Artists participating in the CAB exhibit are: David Adler (Williamsburg); Jean Arcoleo (Bensonhurst); Hilda Arp (Bay Ridge); Adele Cohen (Flatbush); Elizabeth Delson (Park Slope); Marilyn Elman (Flatbush); Marion Federe (Flatbush); Shirley Fuerst (Flatbush); Ruth Gunshor (Sea Gate); Rima Jablin (Flatbush); Alexander Kozloff (Bay Ridge); Allen Moore (Brooklyn Heights); Carl Provder (Flatbush); Jeanette Rosenwasser (Flatbush); Simon Ross (Flatbush); Gertrude Sappin (Flatbush); Rita H. Schwartz (Crown Heights); Pansy Seiden (Flatbush); Miriam Shorr (Flatbush); Max Taylor (East New York); Hilde Kevess Weingarten (Brooklyn Heights); and Florence Wint (Flatbush).
"Since its inception, CAB has been very supportive of the Gallery’s artistic and fund raising activities,” noted Henri Ghent, who has guided the nation’s first major museum showcase for community artists to international prominence. Ghent is currently directing an energetic campaign to raise $20,000 by the end of January to aid the financially distressed Community Gallery which has presented more than forty exhibitions, involving more than 1,000 artists of all races and levels of achievement. “If we are unable to raise the necessary operational funds,” Ghent emphasized, “our failure may act as a deterrent to other institutions who might otherwise emulate our efforts to make the museum’s services more relevant to the needs of the community.”