Lenore Simon wrote this Letter to the Editor, which was published in the Spring 1975 edition of Graphics Magazine:
"HANDS ON" DEMONSTRATION
     "Your recent statement that 'enthusiasm abounds when people actually see and participate in the printmaking process' was aptly put. The success of our recent Printmaking Workshop held at the Fine Arts Gallery of San Diego attests to this.
     We were invited to conduct a workshop for the Docents and Auditors of the Fine Arts Gallery by Artists Equity President Ms. Jean Braley who arranged the event and participated in the accompanying exhibit. Mr. Dan Jacobs, owner of Orr's Gallery in San Diego, presented an informative talk on Original Fine Art Prints and offered many superb examples from his gallery and private collection. An extraordinary example of State Proofs gave the audience of over 100 a deeper appreciation of the development of an original print.
     Following the talk, the audience was divided into two groups - one to observe Ms. Cheryl Cunning's demonstration of Silk Screen Printing and the other to observe Gary Hansmann and myself 'pulling' a print created by the audience.
     We provided two pre-coated zinc plates which were passed among the audience to inscribe their own images. It was amusing to see how each guest hovered over the plate creating their own work and how reluctantly each gave it up to the next party. It was easy to see that they were 'hooked' - and no wonder - it was their first glimpse into the mysteries of printmaking. In addition to printing the 'original print' created by the audience, Gary and I also printed another aquatint plate that he made 'on the spot'.
     Cheryl Cunning brought some interesting examples of vacuum formed plates. She covered block printing as well as Serigraphy. Her presentation was excellent and was well received by those who had never seen a silk screen print made.
     A most important aspect of our workshop was the informality. Both the printmakers as well as the audience were able to freely move around the press, acid baths (situated near the kitchen), water trays and display of tools, plates, illustrative materials, books, etc. All participants were stimulated by the questions and feedback resulting from observations by the audience. We all agreed that this is the way to present a Printmaking Workshop as opposed to a formal lecture presentation. The enthusiasm generated by this 'hands on' approach was encouraging. The audience felt at ease questioning the participants and, since the speakers were reacting to their audience rather than talking at them, a marvelous rapport developed. Most importantly, the audience came away with a fuller appreciation and insight into what printmaking was all about. The fact that each plate was re-inked by hand before each print was 'pulled' was astounding to some who had no inkling (no pun intended) of the procedure. This new knowledge was beneficial to all since it dispelled the 'black magic' from the printmaking process and made the efforts of the printmaker more appreciated. All in all, the Workshop was an endeavor well worth the effort involved.
I hope this gives you an idea of the scope of our workshop as you requested."

"Editors Note: We asked Lenore to give us details of her recent workshop since we know first hand of the audience interest and exuberance generated by participating directly in the mysterious printmaking process. We commend her and her companions and encourage more printmakers to set up and offer such 'hands on' printmaking demonstrations to the public."

     Hiroshi Miyazaki received a one-man show and Barbara Weldon and Raul Trejo received a two-man show after the 1975 All-Media exhibition. This show opened on May 28, 1976.

     In 1975 the Guild held its 60th anniversary and the Fine Arts Society its 50th. The Guild printed an explanation of what its relationship to the Society was:
The San Diego Art Guild an explanation
     "The San Diego Art Guild celebrates its sixtieth year in 1975 as a group of professional artists who have worked in close association with the Fine Arts Society of San Diego, an organization they helped establish. This report is an explanation of that relationship.
Definition
     The San Diego Art Guild is a committee of the Fine Arts Society of San Diego according to the by-laws of the Society, and a guild.
A society is any organization of people who have joined together because of some interest in common.
     A committee is a group of people chosen, as from the membership of a society, to consider some matter or function in a specified capacity of service.
     A guild is a union of people in the same craft or trade who have joined together to uphold standards, provide for mutual aid and the promotion of common interests.
Function
     The Art Guild, as a committee, serves the Society and, as a guild, serves its membership.
     It is our function to support the Society as it endeavors to provide an art museum and an educational program for the citizens of the San Diego area. We do this by:
(1) Endeavoring to represent the best, most professional and creative aspects of art in the San Diego area.
(2) Sponsoring two competitive art exhibitions, namely:
     (a) The Art Guild ALL-MEDIA SHOW (annually)
     (b) The CALIFORNIA-HAWAII REGIONAL SHOW (bi-annually)
(3) Providing our talents as individuals for other programs and on other committees of the Society.
     It is also our function to maintain the support of the Society which is done through its providing space for the showing of works by Guild members, encouraging sales, providing occasional financial aid.
Membership
     Revenue from members of the Art Guild supports the Society. The Guild is basically self-supporting, obtaining most of its revenue from fund-raising projects. Membership is obtained through personal application and fulfilling specific qualifications approved by the Guild's Executive Council."

     This article was written by Carol Olten for the San Diego Union on September 5, 1975:
WONDERFUL WALLS
MURALISTS PUSH ART FOR HOUSES
     "Guillermo Acevedo finds it rather pleasant to have 'The Atomcosmicdelik Creator' decorating an entire side of his two story house.
     The 35 by 23 foot mural is being painted there by the Congress of Cosmic Artists of the Americas, a group striving to 'promote, develop and perpetuate mural art to the point where it is sophisticated and imaginative.'
     'The Atomcosmicdelik Creator' is the first house mural in San Diego although there already are muralled garages says Mario Acevedo Torero, one of the artists involved in the project. It evolved when Guillermo Acevedo, an established local artist himself, asked Mario, his son, a dedicated muralist, to paint his house.
     'It was a perfect opportunity for a mural,' says Acevedo, 'an opportunity to show something aesthetic outside.'
     The mural, although still unfinished, attracts a fair amount of attention in the Golden Hill neighborhood and has received many compliments, he adds."

     At the Guild Board meeting on September 17, 1975, this was written in the minutes:
     "Raul (Trejo) suggested that the exhibit (California - Hawaii) also be open to artists from Baja California. The Board and Mr. Gardiner agreed."

     On November 2, 1975 Raul Trejo wrote this letter to Mrs. Jack L. Oatman President of the Fine Arts Society and Henry Gardiner Director, about the Guild's financial status:
     "As members of the Art Guild we are finding ourselves in need of financial advice. Our understanding is that in the past The Guild received a portion of membership dues. We believe that that portion was about 50% which was curtailed in 1968.
The bookkeeping office shows a deficit for us of $178.76. Since there is no direct access to funds in our behalf, we are openly concerned. These expenses have evolved from the Annual Guild Shows in connection with mailing, printing, and reception costs. Foreseeably, in the future expenses will still revolve around the same type of costs. Without funds we cannot meet these obligations nor are we able to hire a good speaker from time to time for the members at large.
     The problem is further intensified by the fact that the Art Guild is strongly opposed to money raising activity. All members are working artists and as such are contributing directly by their work to the effectiveness of The Fine Arts Society in the field of contemporary art. The energies of all of these people are already very seriously committed.
May we have your advice in regard to our financial status."
On November 17, 1975 The Guild received a response from, Ellen Storjohann, Business Administrator for the Gallery:
     "Mrs. Oatman has asked me to reply to your letter of November 2.
According to our agreement with the City, membership dues are defined as 'eligible income' which can be matched with City funds and 'must be expended for institution maintenance and operations.'
     Further, the Fine Arts Society by-laws (Page 10) state that all receipts realized by the Society except those with conditions attached shall become a part of the general funds.
In view of the foregoing, it is concluded that all membership dues must be used for general operating purposes only; therefore, it is the decision of the Gallery that no membership dues can be compromised.
     Although I can understand your aesthetic views toward finances, it is and must remain the policy of each Gallery group to be independent of the general fund and maintain their individual income and expenditure needs.
     I am glad to offer both individual and staff support to the Art Guild in their activities. It is important that we meet to discuss the present status of the Guild as no activity is to be planned without funds to meet the Guild expenditures."

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