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| Volume 8, Issue 2, May 2008 CLICK HERE to download this newsletter in PDF format ___________________________________________ |
| Have a story you think is worth sharing? CLICK HERE to send an email to the Douglas Society webmaster Douglas Society home page |
| CLICK HERE to access PDF versions of past Douglas Society newsletters The online version of our website will be available again soon... |
Stephen Polcari
Professor of Art History, Chapman University & Author of
Abstraction Expressionism and the Modern Experience
Thursday, May 15th, at 6:00 pm
Sharp Auditorium at the Denver Art Museum
Free of charge
During the 1940s, many American artists, in an effort to advance
modern painting and move beyond the substantial contributions
made by European artists such as Pablo Picasso, turned to the art
of other cultures and earlier time periods for inspiration. Jackson
Pollock and Clyfford Still, having roots in the American West, were
particularly interested in the art of the American Indian which
Pollock and Still witnessed firsthand, both in museum exhibitions
but also directly on various reservations and indigenous
communities.
Professor of Art History, Chapman University & Author of
Abstraction Expressionism and the Modern Experience
Thursday, May 15th, at 6:00 pm
Sharp Auditorium at the Denver Art Museum
Free of charge
During the 1940s, many American artists, in an effort to advance
modern painting and move beyond the substantial contributions
made by European artists such as Pablo Picasso, turned to the art
of other cultures and earlier time periods for inspiration. Jackson
Pollock and Clyfford Still, having roots in the American West, were
particularly interested in the art of the American Indian which
Pollock and Still witnessed firsthand, both in museum exhibitions
but also directly on various reservations and indigenous
communities.
| Clyfford Still 1945 |
| Clyfford Still 1938 |
Pollock and Still were impressed by this art not only for its
graphic simplicity and dramatic coloration, but also for the
way in which the seemingly abstract signs and symbols in
American Indian art seemed to hold universal meaning.
This unique lecture will propose the ways in which Pollock
and Still’s art was informed not only by American Indian art
but also by the rituals and accouterments of American
Indian religion and practices, particularly Shamanism and
Shamanic concepts.
Stephen Polcari is the Chair of the Art Department at
Chapman University in Orange, California. He has written
extensively on American Abstract Expressionism. His
ground breaking study Abstract Expressionism and the
Modern Experience was published by Cambridge
University Press in 1991.
Note this happens soon!
This is a special presentation by the Clyfford Still Museum.
No RSVP is required.
graphic simplicity and dramatic coloration, but also for the
way in which the seemingly abstract signs and symbols in
American Indian art seemed to hold universal meaning.
This unique lecture will propose the ways in which Pollock
and Still’s art was informed not only by American Indian art
but also by the rituals and accouterments of American
Indian religion and practices, particularly Shamanism and
Shamanic concepts.
Stephen Polcari is the Chair of the Art Department at
Chapman University in Orange, California. He has written
extensively on American Abstract Expressionism. His
ground breaking study Abstract Expressionism and the
Modern Experience was published by Cambridge
University Press in 1991.
Note this happens soon!
This is a special presentation by the Clyfford Still Museum.
No RSVP is required.
On Sunday, June 22 at 2:00 pm (to 4 pm), The Douglas Society is
providing the unique opportunity to visit the Lakewood home of Dorothy
Heitler, containing the Heitler Collection of African art. This event will
feature a presentation by Dr. Niangi Batulukisi, a Congolese scholar, on
“Developing a Connoisseur’s Eye for Collecting African Art, with
Examples from the Congo”.
The Heitler Collection began in 1957 when Emmett and Dorothy Heitler
purchased several pieces of African art from the collection of Morton D.
May, offered at the celebration of the new May D&F Department Store on
16th Street in Downtown Denver. Their son, Bruce Heilter, became a
collector with his parents after he worked in West Africa in 1966. The
collection overflows into Bruce’s house and offices of Heilter Development.
The collection currently includes more than 200 pieces. Some pieces
were acquired from galleries in New York, Brussels, and Paris, and many
were acquired from African dealers who traveled to Denver with objects –
sometimes directly from Africa and sometimes acquired in trade from
collections in Europe and America.
Several pieces are one-of-a-kind objects such as the Bini Monkey, a
painted wooden Benin mask, and a seated bronze Ife figure. The collection
is particularly interesting for learning about the dimensions of African
art since it includes many sub-collections of similar objects from
neighboring ethnic groups, from different time periods, and from different
carvers from the same group. Ceremonial chairs and stools have been an
area of particular interest, and the collection includes several Ashanti
stools, as well as Baule, Tabwa, Senufo, Dogon, and Ethiopian stools and
chairs.
Several pieces from the Heitler Collection were published in the book
African Art in American Collections. Four pieces from the Yoruba tribe
were exhibited in the Denver Art Museum’s “African Renaissance” exhibit.
Several pieces from the Heitler Collection have been donated to the
Denver Art Museum and the Yale Art Gallery. The Yale Art Gallery will be
borrowing two objects from the Heitler Collection for display in their
upcoming exhibition on the D’mba Ceremony of the Baga Tribe.
Dr. Batulukisi has more than fifteen years experience in the field of African
Art, as writer, lecturer, scholar, and museum curator. She was born in the
Democratic Republic of the Congo, and received her PhD in Archaeology
and Art History at the Catholic University of Louvain-La-Neuve, Belgium,
under the supervision of Francois Neyt. She has broad expertise in African
art with particular concentration on the art of Congo. She spent ten
years working in Belgium with the Congo Basin Research.
The cost of entrance is a $40 donation to the Douglas Society.
Light refreshments consisting of South African wine, cheese, and fruit will
be served. Douglas Society members will receive individual invitations.
When you receive your invitation, RSVP with payment early, as attendance
is limited (the deadline will be June 14) . Members are encouraged to bring
their friends—especially collectors of African Art.
(Thanks go to Board member George Hegarty (GeorgeHegarty@aol.com)
and Elizabeth Bennett, African art dealer, for putting this together).
providing the unique opportunity to visit the Lakewood home of Dorothy
Heitler, containing the Heitler Collection of African art. This event will
feature a presentation by Dr. Niangi Batulukisi, a Congolese scholar, on
“Developing a Connoisseur’s Eye for Collecting African Art, with
Examples from the Congo”.
The Heitler Collection began in 1957 when Emmett and Dorothy Heitler
purchased several pieces of African art from the collection of Morton D.
May, offered at the celebration of the new May D&F Department Store on
16th Street in Downtown Denver. Their son, Bruce Heilter, became a
collector with his parents after he worked in West Africa in 1966. The
collection overflows into Bruce’s house and offices of Heilter Development.
The collection currently includes more than 200 pieces. Some pieces
were acquired from galleries in New York, Brussels, and Paris, and many
were acquired from African dealers who traveled to Denver with objects –
sometimes directly from Africa and sometimes acquired in trade from
collections in Europe and America.
Several pieces are one-of-a-kind objects such as the Bini Monkey, a
painted wooden Benin mask, and a seated bronze Ife figure. The collection
is particularly interesting for learning about the dimensions of African
art since it includes many sub-collections of similar objects from
neighboring ethnic groups, from different time periods, and from different
carvers from the same group. Ceremonial chairs and stools have been an
area of particular interest, and the collection includes several Ashanti
stools, as well as Baule, Tabwa, Senufo, Dogon, and Ethiopian stools and
chairs.
Several pieces from the Heitler Collection were published in the book
African Art in American Collections. Four pieces from the Yoruba tribe
were exhibited in the Denver Art Museum’s “African Renaissance” exhibit.
Several pieces from the Heitler Collection have been donated to the
Denver Art Museum and the Yale Art Gallery. The Yale Art Gallery will be
borrowing two objects from the Heitler Collection for display in their
upcoming exhibition on the D’mba Ceremony of the Baga Tribe.
Dr. Batulukisi has more than fifteen years experience in the field of African
Art, as writer, lecturer, scholar, and museum curator. She was born in the
Democratic Republic of the Congo, and received her PhD in Archaeology
and Art History at the Catholic University of Louvain-La-Neuve, Belgium,
under the supervision of Francois Neyt. She has broad expertise in African
art with particular concentration on the art of Congo. She spent ten
years working in Belgium with the Congo Basin Research.
The cost of entrance is a $40 donation to the Douglas Society.
Light refreshments consisting of South African wine, cheese, and fruit will
be served. Douglas Society members will receive individual invitations.
When you receive your invitation, RSVP with payment early, as attendance
is limited (the deadline will be June 14) . Members are encouraged to bring
their friends—especially collectors of African Art.
(Thanks go to Board member George Hegarty (GeorgeHegarty@aol.com)
and Elizabeth Bennett, African art dealer, for putting this together).
| Lobi yadawora figure, Heitler collection |
| Bini Monkey, Heitler Collection |
| Dr. Batulukisi, presenter |
Live performance energized the museum during Advancing the Dialogue: Symposium on Native Performance
Art. The Native Arts department brought together artists, scholars, students and curators—as well as the curious—
for a historic two-day gathering around performance art. Presenters from across the nation and Canada
addressed several hot topics from the field. Some of the highlights included discussion with the artists about
their current work, a performance jam and the grand finale — a performance by James Luna of “Four Ways.”
The symposium is the second in a series offered by the department which endeavors to bring critical discussion
to the field of contemporary Native art. This symposium was generously supported by the Ford Foundation in
recognition of the museum’s effort to advance scholarship around Native art.
Congratulations to Polly Nordstrand for her role in organizing this successful symposium!
Art. The Native Arts department brought together artists, scholars, students and curators—as well as the curious—
for a historic two-day gathering around performance art. Presenters from across the nation and Canada
addressed several hot topics from the field. Some of the highlights included discussion with the artists about
their current work, a performance jam and the grand finale — a performance by James Luna of “Four Ways.”
The symposium is the second in a series offered by the department which endeavors to bring critical discussion
to the field of contemporary Native art. This symposium was generously supported by the Ford Foundation in
recognition of the museum’s effort to advance scholarship around Native art.
Congratulations to Polly Nordstrand for her role in organizing this successful symposium!
The Native Arts Department is very pleased to announce the
acquisition of a rare set of Inuit graphic works. Donated by long-time
Douglas Society member and Inuit art collector, Dr. Sam Wagonfeld, it
consists of an original sketch (pictured at left), a carved woodblock and
the first print pulled off of the block (pictured on the following page,
page 5). Having the complete set is a rarity in the Inuit art world as Inuit
artists typically sell their original drawings to the native owned
cooperative in their community and the co-op then retains the drawing
for their archive. Sam Wagonfeld was fortunate to be able to acquire
the complete set and, recognizing its rarity and educational value,
generously donated it to the Denver Art Museum.
This set was created by the late Baker Lake artist, Janet Kigusiuq--one
of the most highly acclaimed contemporary Inuit artists-- and
documents her work from inception to the finished product. We are
grateful to Dr. Wagonfeld for his generosity in gifting this extraordinary
set of art works.
acquisition of a rare set of Inuit graphic works. Donated by long-time
Douglas Society member and Inuit art collector, Dr. Sam Wagonfeld, it
consists of an original sketch (pictured at left), a carved woodblock and
the first print pulled off of the block (pictured on the following page,
page 5). Having the complete set is a rarity in the Inuit art world as Inuit
artists typically sell their original drawings to the native owned
cooperative in their community and the co-op then retains the drawing
for their archive. Sam Wagonfeld was fortunate to be able to acquire
the complete set and, recognizing its rarity and educational value,
generously donated it to the Denver Art Museum.
This set was created by the late Baker Lake artist, Janet Kigusiuq--one
of the most highly acclaimed contemporary Inuit artists-- and
documents her work from inception to the finished product. We are
grateful to Dr. Wagonfeld for his generosity in gifting this extraordinary
set of art works.
The museum recently received a generous gift of $50,000
from the Henry Luce Foundation of New York for the
conservation of Navajo textiles.
The funds will be used to treat 19 blankets in need of cleaning
and repair. In preparation for this grant, the entire 19th century
Navajo blanket collection was surveyed by Nancy Blomberg
and Carl Patterson, Silber Director of Conservation at the
Denver Art Museum. Pieces were examined and selected
based on several criteria including: age, rarity, cultural and
artistic significance and, of course, those in greatest need of
conservation.
The Luce Foundation, a leader in American art funding for
twenty-five years, was founded in 1936 by Henry R. Luce,
cofounder and editor-in-chief of Time Inc. The Foundation is
also a philanthropic leader in the areas of East Asia, theology,
higher education, and women in science, mathematics and
engineering. The Denver Art Museum has benefited from the
Luce Foundation’s generosity and foresight over the years
and is enormously grateful for the recent support of the Native
Arts Department.
Illustrated at right is a Navajo woman’s dress (ca. 1850-1870) with
damaged edges, an example of repair that will be undertaken as
part of this grant.
from the Henry Luce Foundation of New York for the
conservation of Navajo textiles.
The funds will be used to treat 19 blankets in need of cleaning
and repair. In preparation for this grant, the entire 19th century
Navajo blanket collection was surveyed by Nancy Blomberg
and Carl Patterson, Silber Director of Conservation at the
Denver Art Museum. Pieces were examined and selected
based on several criteria including: age, rarity, cultural and
artistic significance and, of course, those in greatest need of
conservation.
The Luce Foundation, a leader in American art funding for
twenty-five years, was founded in 1936 by Henry R. Luce,
cofounder and editor-in-chief of Time Inc. The Foundation is
also a philanthropic leader in the areas of East Asia, theology,
higher education, and women in science, mathematics and
engineering. The Denver Art Museum has benefited from the
Luce Foundation’s generosity and foresight over the years
and is enormously grateful for the recent support of the Native
Arts Department.
Illustrated at right is a Navajo woman’s dress (ca. 1850-1870) with
damaged edges, an example of repair that will be undertaken as
part of this grant.
If you are a collector of traditional African art, have you ever thought
about seeing traditional African art in Africa itself? To see traditional
African art in use in Africa is a special experience not easily found. And
when it is found, the dances may be staged for tourists, because
some of these ceremonies have become secularized. Much of the
usage of authentic traditional art that does retain its historical roots
and significance may be more difficult to access for religious and
political reasons. To experience authentic African art festivals, visitors
may need to avoid the commercial tourist trips, and seek indigenous
African guides who know the cultural calendars, and who have access
to the secret locations where performances take place. The tourist
markets are also not the best places to see authentic African art
objects, especially those art objects that are rare and consequently
better valued by collectors and dealers.
Another option would be to visit museums in Africa. I have visited
Africa on numerous occasions since 1968 and lived there — in
Senegal, Cote d'Ivoire, Cameroon, and Madagascar — at various
times for a total of nine years. During these years I have been
collecting traditional African objects and have taken every opportunity
to visit any African art museum available. Africa is a continent
historically rich in its art traditions, but visiting some museums in Africa
may not always be a fully rewarding experience for visitors who are
used to professional displays of African art objects in western
museums. Museums outside of Africa often are good places to see
African art, but many of the objects they have are shown outside of
their cultural contexts — masks, for instance, are most often stripped
of fabrics, with only their wooden superstructures displayed.
Many African museums are modest structures (although there are
monumental structures such as the National Theater in Lagos,
Nigeria). Often they have neither desirable infrastructure, temperature
controls, nor significant funds to purchase and preserve art. Worse
yet, a significant percentage of African museums, during times of war
and peace, have suffered from looting and theft. Some great
collections have been sold off and replaced with new reproductions
or lesser objects.
All of this bad news being said, my favorite museum in Africa may be
found in Dakar, Senegal. Ironically, Dakar is an urbanized Muslim city,
and the country of Senegal is not well-known as an important origin of
traditional African art. However, Dakar's history as the capital for all of
French West Africa, Senegal's political stability, and the relative
prosperity of the country have contributed to making the Dakar Art
Museum one of the best museums in Africa. Senegal's first and long
term president, Leopold Senghor — who was a poet, educator, and
art theoretician — was an important inspiration for the respect for art
preservation and display in Senegal.
The museum was one of the pioneers for African art. It is known by
various names (in French): The Dakar Art Museum, The IFAN
Museum, Cheikh Anta Diop University's Art Museum, The African Art
Museum of Dakar, The Museum of Dakar, or — since 2007 — the
Theodore Monod African Art Museum. Some of its collection was first
exhibited in 1865 and in 1869 under the name The Museum of Dakar.
The planning for this serious museum of research began in 1931 and
the museum first registered objects for its collection in 1941. In 1959 it
became part of the University of Dakar, now called Cheikh Anti Diop
University. It is currently located in an historical, former government
building with an attractive exterior.
The museum features not only a range of traditional African art
objects in wood, but also baskets, terracotta pots, metalwork, jewelry
and textiles. Masks are displayed on figures in village-like
environments. Social and religious contexts are explained and
illustrated with photos. One of the interesting aspects to me of many of
the objects is that they have patinas that are less seen outside of
Africa. The objects retain their traditional, sometimes sooted patinas,
rather than being heavily cleaned and often waxed or oiled like many
found in the West. Francine Ndiaye, professor and head of the
department of Black Africa of the Museum de L'Homme in Paris, edited
a catalog of the Dakar Art Museum's collection (in French) published
in 1994. This book presents approximately three hundred objects,
many currently on display.
about seeing traditional African art in Africa itself? To see traditional
African art in use in Africa is a special experience not easily found. And
when it is found, the dances may be staged for tourists, because
some of these ceremonies have become secularized. Much of the
usage of authentic traditional art that does retain its historical roots
and significance may be more difficult to access for religious and
political reasons. To experience authentic African art festivals, visitors
may need to avoid the commercial tourist trips, and seek indigenous
African guides who know the cultural calendars, and who have access
to the secret locations where performances take place. The tourist
markets are also not the best places to see authentic African art
objects, especially those art objects that are rare and consequently
better valued by collectors and dealers.
Another option would be to visit museums in Africa. I have visited
Africa on numerous occasions since 1968 and lived there — in
Senegal, Cote d'Ivoire, Cameroon, and Madagascar — at various
times for a total of nine years. During these years I have been
collecting traditional African objects and have taken every opportunity
to visit any African art museum available. Africa is a continent
historically rich in its art traditions, but visiting some museums in Africa
may not always be a fully rewarding experience for visitors who are
used to professional displays of African art objects in western
museums. Museums outside of Africa often are good places to see
African art, but many of the objects they have are shown outside of
their cultural contexts — masks, for instance, are most often stripped
of fabrics, with only their wooden superstructures displayed.
Many African museums are modest structures (although there are
monumental structures such as the National Theater in Lagos,
Nigeria). Often they have neither desirable infrastructure, temperature
controls, nor significant funds to purchase and preserve art. Worse
yet, a significant percentage of African museums, during times of war
and peace, have suffered from looting and theft. Some great
collections have been sold off and replaced with new reproductions
or lesser objects.
All of this bad news being said, my favorite museum in Africa may be
found in Dakar, Senegal. Ironically, Dakar is an urbanized Muslim city,
and the country of Senegal is not well-known as an important origin of
traditional African art. However, Dakar's history as the capital for all of
French West Africa, Senegal's political stability, and the relative
prosperity of the country have contributed to making the Dakar Art
Museum one of the best museums in Africa. Senegal's first and long
term president, Leopold Senghor — who was a poet, educator, and
art theoretician — was an important inspiration for the respect for art
preservation and display in Senegal.
The museum was one of the pioneers for African art. It is known by
various names (in French): The Dakar Art Museum, The IFAN
Museum, Cheikh Anta Diop University's Art Museum, The African Art
Museum of Dakar, The Museum of Dakar, or — since 2007 — the
Theodore Monod African Art Museum. Some of its collection was first
exhibited in 1865 and in 1869 under the name The Museum of Dakar.
The planning for this serious museum of research began in 1931 and
the museum first registered objects for its collection in 1941. In 1959 it
became part of the University of Dakar, now called Cheikh Anti Diop
University. It is currently located in an historical, former government
building with an attractive exterior.
The museum features not only a range of traditional African art
objects in wood, but also baskets, terracotta pots, metalwork, jewelry
and textiles. Masks are displayed on figures in village-like
environments. Social and religious contexts are explained and
illustrated with photos. One of the interesting aspects to me of many of
the objects is that they have patinas that are less seen outside of
Africa. The objects retain their traditional, sometimes sooted patinas,
rather than being heavily cleaned and often waxed or oiled like many
found in the West. Francine Ndiaye, professor and head of the
department of Black Africa of the Museum de L'Homme in Paris, edited
a catalog of the Dakar Art Museum's collection (in French) published
in 1994. This book presents approximately three hundred objects,
many currently on display.
There are two floors of exhibit space in the museum. The permanent collection is featured on the main floor. Temporary exhibitions are
featured on the second floor. Currently, there is an exhibition of objects relating to fertility. The objects in the museum come from
throughout West Africa, from Senegal up to the edge of central African in western Cameroon. There are no objects exhibited for countries
farther into central, east or southern Africa. Although Senegal is not well-known for traditional African art, several rare Diola masks from
the Casamance in the south of the country are featured at
the museum. One is pictured here (above on right).
As a place to visit otherwise, Senegal has some nice beaches, fine restaurants, mild winters, a thriving contemporary art scene, and direct
flights from the US. A visit to the Dakar Art Museum is a stop worth considering during a trip to Dakar, which is also a gateway city
for trips deeper into the fascinating African continent.
George Hegarty, whose personal perspective is expressed here, is President of Teikyo Loretto Heights University and a new member of
the Douglas Society Board. Moyo Okediji, DAM’s consulting curator for African Art, contributed to this article as well.
*For those interested in African art, the Heitler African Art Collection home visit on June 22 is a great opportunity — see page 3 for details.
Also, you might want to see, in the current, May 2008 issue of Art and Antiques Magazine, an article by Jonathan Fogel: “Into the Realm of
the Supernatural: Classical African Objects Combine Spiritual Functionality with Aesthetic Power to Become Sought-After Art”, available in
public libraries.
featured on the second floor. Currently, there is an exhibition of objects relating to fertility. The objects in the museum come from
throughout West Africa, from Senegal up to the edge of central African in western Cameroon. There are no objects exhibited for countries
farther into central, east or southern Africa. Although Senegal is not well-known for traditional African art, several rare Diola masks from
the Casamance in the south of the country are featured at
the museum. One is pictured here (above on right).
As a place to visit otherwise, Senegal has some nice beaches, fine restaurants, mild winters, a thriving contemporary art scene, and direct
flights from the US. A visit to the Dakar Art Museum is a stop worth considering during a trip to Dakar, which is also a gateway city
for trips deeper into the fascinating African continent.
George Hegarty, whose personal perspective is expressed here, is President of Teikyo Loretto Heights University and a new member of
the Douglas Society Board. Moyo Okediji, DAM’s consulting curator for African Art, contributed to this article as well.
*For those interested in African art, the Heitler African Art Collection home visit on June 22 is a great opportunity — see page 3 for details.
Also, you might want to see, in the current, May 2008 issue of Art and Antiques Magazine, an article by Jonathan Fogel: “Into the Realm of
the Supernatural: Classical African Objects Combine Spiritual Functionality with Aesthetic Power to Become Sought-After Art”, available in
public libraries.
Our spring program series was a great success, thanks to everyone who participated!
We are busy planning our fall program series and below is a preliminary list of great programs we’
re putting together, into autumn and winter.
Mark your calendars for the following dates!
May 15, 2008 — Pollock, Still, Shamanism and the Indian Ritual of the West
June 22, 2008 — Heitler African Art Collection home visit
September 24, 2008 — Dexter Cirillo, Southwest Jewelry
October 22, 2008 — Melanie Yazzie, the artist presents her work
November 20, 2008 — Charles King on Margaret Tafoya
January 8, 2009 —- Candace Green, Lakota Winter Counts
February 6, 2009 — Douglas Society Annual Meeting and Dinner in DAM’s Schlessman Hall
Writers and graphics contributors to this newsletter included Nancy Blomberg, Chase DeForest (Clyfford Still Museum),
George Hegarty, Christina Jackson, Polly Nordstrand, Moyo Okediji, Jennifer Pray, and Kevin Spray. James Baily, Editor
We are busy planning our fall program series and below is a preliminary list of great programs we’
re putting together, into autumn and winter.
Mark your calendars for the following dates!
May 15, 2008 — Pollock, Still, Shamanism and the Indian Ritual of the West
June 22, 2008 — Heitler African Art Collection home visit
September 24, 2008 — Dexter Cirillo, Southwest Jewelry
October 22, 2008 — Melanie Yazzie, the artist presents her work
November 20, 2008 — Charles King on Margaret Tafoya
January 8, 2009 —- Candace Green, Lakota Winter Counts
February 6, 2009 — Douglas Society Annual Meeting and Dinner in DAM’s Schlessman Hall
Writers and graphics contributors to this newsletter included Nancy Blomberg, Chase DeForest (Clyfford Still Museum),
George Hegarty, Christina Jackson, Polly Nordstrand, Moyo Okediji, Jennifer Pray, and Kevin Spray. James Baily, Editor
| The August 2008 Douglas Society Newsletter will be online soon. Please check out Current Events page for a list of upcoming events. |