Thin Places:

Bo Petran, Stephanie Arnett and invited guests

March 3, 2018 through March 30, 2018

Opening Reception – Saturday, March 3rd, 6-9pm

3rd Thursday Reception – March 15th  6-9pm

In Thin Places, we are divested of the illusion that our mundane world is wholly separate from the world of the invisible.  The phrase is Celtic in origin and unlike similar concepts of oneness with the divine from other cultures, it refers to a physical location where we can peek through to a greater beyond. In their two-person exhibition with invited guests, Bo Petran and Stephanie Arnett present a look behind the veil.

For Petran, his  journey as a painter and sculptor began with his choice to cross between two worlds: from the Czechoslovakian border to West Germany with a machine gun in his hand.  His Thin Place will represent a physical space cultivated for creative flow.

Arnett is a lapsed painter, and a photographer by trade,  She’ll be showing her recent experiments with flow painting in a continuation of the narrative of space exploration from her Away Mission series.

ATLANTIC WORKS GALLERY is East Boston’s Collaborative Space for Art and Ideas. Established in 2003, it is a member-operated gallery located on the top floor of 80 Border Street on the waterfront. It is T-accessible (Maverick stop on the Blue Line) and there is usually ample parking.  For detailed directions, information about members, future shows, etc, please visit atlanticworks.org.

For more information or to schedule a private press viewing, contact Stephanie via email: (steph@stephaniearnett.com) or phone (617-388-6250)

New Members Show

“Point of View” by Diane Modica and “New Works” by Justin Rounds 

February 3 – 24, 2018

Opening Reception: Saturday, February 3, 6-9pm

Third Thursday Reception: February 15, 6-9pm

About the Artists

Diane Modica was born and raised in East Boston where she resides. A lawyer by day, she is a self-taught artist who has gained significant insights from classes, workshops, reading, traveling, history, heritage, faith, politics, people and other artists. By observing and engaging in life and all its emotional, and often unseen and unknown connections, her work resonates with surprise.  Her work is both abstract and representational in in all media-water color, oil, acrylic, collage, textile and whatever else calls out to her.

Modica approaches art with an intuitive spirit. While her knowledge and experience may come from years of engagement, intuition is a special gift that guides her artistic expression.

She believes that observing history, everyday objects, nature and life with an open mind can force a whole new perspective, or point of view, freedom from conventional perceptions and the release of imagination from its persistent constraints.

Modica says, “My finished pieces may change with the manner, mood and place from which I view them. It shows me that small marks, gestures and variations in art and life can inform me in an entirely different way.  Sometimes that different point of view is hidden until you search and it reveals itself. The key is an open mind. Points of view will find you if you let them”.

To schedule a private viewing and press interview at a more convenient time, please contact Diane Modica at 617 567-7200.

 

 Justin Rounds is a transmedia artist, musician, and educator living and working in Boston, Massachusetts. Employing painting, performance, and interactivity, his work investigates dynamics of power and control in culture and society, using processes emerging from the  intersection of art and technology. He is an active member of Atlantic Works Gallery in East Boston, adjunct faculty at Northeastern University, and passionate about helping people use technology creatively. You can find his work on line at justincrounds.org

 

Begun in 2003, Atlantic works Gallery, East Boston’s Collaborative Space for Art and Ideas, is a member-operated gallery located on the top floor of 80 Border Street on the waterfront of East Boston. It is nearby the Maverick T stop on the Blue Line. Parking is available in the 80 Border Street Lot,  and  on and around Border Street.  Please visit us at www.atlantic works.org and on Facebook.

Gallery hours: Fridays and Saturdays 2-6pm, or by appointment

Art Basil

January 12 – 27, 2018

Opening Reception and Artist Talks: Thursday, January 18, 6-9pm

 

Atlantic Works Gallery has a history of staging offbeat group shows to satisfy the personalities and talents of our eclectic artist members…

 

…so, this past summer, when one of our members climbed up a ladder to get basil from his rooftop garden only to fall off the ladder and bust his face up but good, we joked that the portrait he took of himself after returning from the hospital should be titled Art Basil.  

 

And then it hit us–our first 2018 group show must be Art Basil! What better way to play off the whole ART BASEL thing and its attendant hoopla and, at the same time, challenge ourselves to create amazing new work for the new year.

 

Another of our extraordinary members had the idea for an Art Basil cookbook that showcases AWG art and basil recipes, which we promptly got to work on.  

 

Now you have it in your hand: the ART BASIL cookbook. And we’re inviting you to come see the exciting ART BASIL show.  (You can check out the remarkable transformation happening on the East Boston Waterfront, too, in which AWG is prime art player.)

 

FOR MORE INFO, or to request another Art Basil cookbook, or a private viewing*, contact Anna Salmeron at annasalmeron@comcast.net or 617.913.1871, or Christine Palamidessi at christine@palamidessi.com or 617.460.0550.

 

Gallery hours: Fridays and Saturdays 2-6pm, or by appointment*

The German Christmas markets sparkle in the European landscape as places where reality can be suspended and grown-ups can be kids again. Central Berlin alone has 10 Christmas markets, each market with its own personality. They run from late November to early January.

There are constants: Twinkling rows of small shops bring crafts and specialty street-foods from all over the country. Sausages sizzle. Beer foams. Wonderful smells waft. Gingerbread morphs into festive shapes. Some markets even have ice-skating rinks, amusement-park rides, and carnival games of chance.

Berlin Christmas Market 1

Berlin Christmas Markets 2

Berlin Christmas Markets 3Drinks are plentiful, the Glühwein (hot mulled wine) and hot rum grog are most popular because it is cold outside, and most drinking places are outdoors, around circular fire pits or at long tables. My modus operandi is strolling among crowds with a mug of Glühwein or a package of hot roasted chestnuts, or sitting at a fire pit.

Berlin Christmas Markets 4

Berlin Christmas Markets 5

Berlin Christmas Markets 6

My favorite market is at Alexanderplatz, where there is a giant Pyramide with life-size Mary, Baby J, Joseph, shepards, and kings revolving on a 5-story-tall replica of a common German Christmas table-top decoration, which at home has tiny tiers propelled by candle heat. The ground level of Berlin’s monstrous Pyramide is a beer garden, the second tier is a restaurant.

Berlin Christmas Markets 7

The Berlin Christmas markets are kitschy and crass, but within bounds. The mood seems a mix of merriment and nostalgia. Little kids are ecstatic with all the lights and movement, and adults are ready to drift into a realm of holidays long past with hope for the future. This is maybe why the killings at last year’s Berlin Christmas market seemed especially brutal. Its one-year day of remembrance happened this week in Berlin, and the observance was not without controversy.

When the attacker last year on Dec. 19th drove a 25-ton truck into the Christmas Market at Breitscheidplatz quickly killing 12 people and injuring 70 more, prime minister Angela Merkel herself seemed like a doe caught in the headlights.

She was blamed for the terror by the right wing for having allowed so many immigrants into the country (the driver of the truck was from Tunisia), and she was criticized from the left wing for showing so little compassion toward the victims and their families. She did not meet with the families after the attack. She did not write them personal letters. She did not offer government-funded reparation or funeral costs.

It’s not like terror is unknown in Germany. The 20th century Germans unleashed much of their own on the world. But since the 1972 terror attack at the Olympic Games in Munich, which now seems long ago, modern Germany has gotten off easier than many other countries in terms of this sort of violence. Frankly, Merkel has had little practice in dealing with terrorism on her own turf.

Berlin Christmas Markets 8

On Tuesday of this week, Merkel visited the site of the killings, where an elegant and unusual monument to the victims was unveiled (see next blog entry on artistic monuments to terror) and where fresh flowers and candles have been constant since a year ago. The Christmas market was shut down that day for the ceremonies. Bells tolled in the Gedächtniskirche – the Church of Rembrance of WW II events, on the steps of which the truck driver had mowed down the 12 victims. On Wednesday, Merkel finally met with the families of the killed and the injured, and talked with them for 3 hours. Overdue, but kind.

In the past Germans have been critical of the way some nations report terrorist events – nations that name and lionize the perpetrators, and leave the victims nameless. In response to this act of terror, German journalists have made a point of naming all 12 victims in each coverage of the event. I will do it, too: Anna Bagratuni, Georgiy Bagratuni, Sebastian Berlin, Nad’a Cizmár, Dalia Elyakim, Christoph Herrlich, Klaus Jacob, Angelika Klösters, Dorit Krebs, Fabrizia Di Lorenzo, Lukasz Urban, Peter Völker.

Three-foot high, one-ton sections of concrete barrier now encircle the same market and life goes on in a bent direction.

Berlin Christmas Markets 9

May our celebration of the new season, the new year, in any holiday form we choose, signify a fresh start for us all.

Berlin Christmas Markets 10

X Bonnie Woods

Nexus

work by Marjorie Kaye and Carmen Sasso

December 1-23, 2017

Nexus represents a constellation of ideas circulating in the present, originating with the ancients, and manifesting in the sculpture and painting of artists Marjorie Kaye and Carmen Sasso.

Marjorie Kaye examines the relationship between recent two dimensional paintings and three dimensional sculptures.  The paintings see interrelationships between shapes along the surface, as if there were entities co-existing within the space.  They encouraged three dimensional pieces that seemed to have jumped out of the surface, escaping from the confines of the second dimension. There is a dichotomy present in the works, from subtlety to complexity; iteration to minimalism.   Together the works address the balance between two disciplines, and the singular worlds that arise from their interaction, as in a thought giving way to the crystallization of form.

Carmen Sasso works with ideas which resonate with solace from the Old Testament through the Psalms of David, praising God, and confirming faith through the management of fear.  Echoes of gratitude sung from a simple shepherd thousands of years past are still heard today and offer calm to a modern person suffering the same.

Each artist approaches the meeting point between structure and idea. Both offer an elixir to the malaise of the present in the forms of joy, reverence and contemplation.

Opening Reception: December 2, 6-9pm
Third Thursday Reception and Artists’ Talk: December 22, 6-9pm
Gallery Hours: Friday and Saturday, 2-6pm or by appointment

In the gallery with Charlene Liska, 2017

In the gallery with Charlene Liska, 2017

In the Silent. Silence. Silenced. exhibit at Atlantic Works Gallery, Charlene Liska sets up a Plato’s Cave, of sorts, using video and installation. Gallery visitors can see faces of the artist’s  tribe on one screen and hear the echos of what they are saying–via  deliberate use of headphone assistance– on a second screen in a different location in the gallery. At the same time the sound of silence–rather, what Liska offers as silence–is a bird’s chirping which permeates the gallery’s audio atmosphere. What the gallery-goer does not immediately realize: the bird chirping is mimicry of the real thing; a sound made by Liska’s Brazilian electrician, Elson.

Using the concept of Silence as the springboard, Liska plays with the possibilities of form and organization, flat planes, shadows, dimension and her own wit, imagination and experience.

“I see Silence as having two sides,” she says. “There’s the beautiful, spiritual and eternal. We are all seeking that and desperately want that kind of silence. And then there is the psychological side.

“Psychologically we’re all being silenced by too much noise. Too much data. It’s flooding in on us constantly.”

Artist Charlene Liska and her 'Diorama' installation at Silent. Silence. Silenced exhibit November 2107.

Artist Charlene Liska and her ‘Diorama’ installation at Silent. Silence. Silenced exhibit November 2107.

The far-side of the gallery houses her curtained-off installation Diorama. Liska creates a layered and a sculptural space that features her own image–talking but without sound–captured within a very small 3-d TV that hangs about six feet above the floor. A projection of a green shrub and brick wall hit and flash on the monitor. The green and red images reach back further, to the flat wall which is about 6 feet behind the suspended TV. The green flashes, changing shape, morphs.    In the upper left corner, is a video cameo of a Boreal Warbler that seemingly watches over the pulsing installation.

“I have tremendous sensitivity to flashing light,” Liska said. “I suffer seizures. Epilepsy.”

Liska explains that epilepsy was a cruel condition to have as a child because it made her feel alienated, self-vigliant and hypersensitive. “Beginning when I was about 13, going on through menopause–estrogen can push you over the edge!”

She hid the condition. In high school teachers and administrators threatened ‘if you have another one’ they would have to put her in an institution. “That meant insane asylum,” she adds. Her family felt strongly that she and they should not talk about her condition publicly.

“I don’t stay silent about it anymore, or hide it.” Liska explains. The episodes and experience certainly influenced her art.

For example, waking up from a seizure Liska would see heads hovering above her. “Heads similar to the heads in my video interviews.” Of course the heads were her husband’s and daughter’s; earlier on her family’s.

Liska has shot many ‘head-on interviews.’

“I did one on Occupy Boston. Another in Berlin on the Documenta. The first video I made was with Anna [Salmeron]. We interviewed gay people about their first kiss. It’s titled ‘Crush’.”

She laughs. “I’m attracted to people’s heads and what’s going on in there.”

In the Silent. Silence. Silenced video Prophecy I, Liska interviews and celebrates her tribe of Atlantic Works Gallery artists.  She requested the interviewees wear hoodies, a form of silencing, and asked them about the future.”What do you think it will be like?” But you can’t hear the answers, unless you walk to the other side of the gallery, to Prophecy II, and put on headphones, or read the text pinned to an opposite wall. Gallery-goers, however, can see the deconstructed pulse of the language, like a line of a heart monitor, that captures the sound waves of the interviewees answers. “It’s media chaos,” she says about the separation of voice from image. “It’s taken for granted in our world, words can easily be drowned and depersonalized in data.”

In the back nook of the gallery, Liska’s 12- hour video, Border Night  not only pays homage to the past–early video artist Andy Warhol– but also to current and future questions regarding privacy and surveillance.

“I wanted to grab the opportunity to make this video before everything on East Boston’s waterfront changes,” Liska says.  So, one night in  September 2017, Liska set up cameras in her Border Street studio window and shot a dusk to dawn look at East Boston’s waterfront.

In addition, at the Silent, Silence Silenced exhibit, Liska shows archival prints:  Newfoundland Bogs (from her time in Canada); Convent, Ghent; and Mojave Whistlestop.  

Atlantic Works Gallery artist Charlene Liska in front of "Prophecy I Machine Transcription": video, 2017 (image on screen is Elson, the Bird Caller)

Atlantic Works Gallery artist Charlene Liska in front of “Prophecy I Machine Transcription”: video, 2017 (image on screen is Elson, the Bird Caller)

There is not complete Silence in the gallery. We hear bird noises. “So many people associate silence to birdcalls,” Liska says. So she came up with bird sounds–a witty twistaroonee, of course: sounds made by her Brazilian electrician who has a knack for imitating and relating to birds. “They talk to him. He talks to them,” she says.

“When you go into the countryside to record silence, you get birdcalls. Even when you are not looking for them, there they are.  It’s like birds live in a parallel universe. Their spirits fly and they don’t care what we do. They just go on and on. Unaffected.” She nods. “Birds are stronger than we are.”

Finally, going back to Platos Cave: the ‘prisoners’ in the cave perceived only shadows and echoes of real objects and were completely unaware that those forms were not the real thing. Ultimately, according to Plato, their perception was not false; by their understanding of the world, the shadows and echoes were the actual forms, since this was all they knew.

In ‘Liska’s Cave’, an ode to Silence, the world’s transition to a socially connected, digital society—the age of the internet–nudges the viewer to contemplate modern reality, and the shadows it casts on form. Here, in the gallery, the major form is video screens. And use of the form questions the separation of words from their speaker, the transformation of spoken text into paper flatness; the absence and ability to inject new words within the movement of a silenced mouth; and even the manipulation of self presentation.

In the gallery with Charlene Liska, 2017

In the gallery with Charlene Liska, 2017

“I do art because I like to do it,” Liska said. “I make art to make art, for no other reason.”

We can think of Liska as the bird in the corner of the gallery in Silent. Silence. Silenced. watching over the video screens. The sound of her voice  has cast strong shadows that challenge our questions about the future and what we might choose to make or take from the video screen.

Woman in abaya at November 4, 2017, Opening reception of Silent. Silence. Silenced.

Woman in abaya at November 4, 2017, Opening reception of Silent. Silence. Silenced.

For the Silent. Silence. Silenced exhibit at Atlantic works, I showed a grouping of black & white monoprints of hooded heads that many gallery visitors said were fascinating. At the artist talk, one of the guests thought the row of prints reminded her of Crusaders.

It was a long haul through self-censorship for me to show the monoprints, because more than one of my yoga associates told me they would not come to the exhibit or send any students to the exhibit to see the hooded images because they were too ISIS and too upsetting.

Up until those conversations, with people I admire and am grateful to have in my life,  it hadn’t occurred to me that I ought to sequester the images so the public would have a choice of whether or not to look at them. But I began to silence myself. Self-censor. Maybe I shouldn’t show them. Maybe the black hooded heads would upset people. Maybe I would be perceived as politically incorrect or a racist.

B & W monoprint

B & W monoprint

Consequently, as a way of working out my artistic dilemma, I made gold hooded heads and called them “Silenced by Capitalism.”  For some reason, I was sure the concept and the sculptures of female heads tightly shrouded in gold would not be upsetting to anyone.

More conversations.  With Charlene Liska who said “Don’t self-censor.”  In conversation with fellow artist Brenda Star who said, “Art is supposed to get people to think about what’s going on, around them. How are people going to become aware if they are protected from images, from art?”

Art is always a process. Often I know what I am thinking about when I work. I know how I started thinking and when I finish I know more about what I am thinking.

This is the story of the monoprints:

Christine Palamidessi printing Black Hooded mono prints.

Christine Palamidessi printing Black Hooded mono prints.

In the winter of 2017 I was artist in residence at Mass MoCA in North Adams, working on the printing press at Maker’s Mill. I was doing mono prints of the head of the Greek Goddess Nike, the image being based on the 420 BC bronze head of the goddess (now viewable in Athen’s Agora Museum). I thought I was exploring the imprints of antiquity on modern life and the meaning behind the Goddess: from the Victorious Female who rode in the chariot next to Zeus to a word and a swish on a sneaker. In addition I was exploring the meaning and hallucination that goes along with looking at a ‘head,” particularly the image of the first head we humans see and become visually attached to—the head of the mother who looks over the infant.

On the second or third day, I turned onn the radio. Our U.S. Senate had gathered to discuss Trump’s attorney general pick, Jeff Sessions. As I inked and pressed, Senator Elizabeth Warren read a letter, written by Martin Luther King Jr’s widow Coretta Scott King. The letter detailed Session’s history of racism and civil rights violations. The Speaker of the House shut Warren down; the Senate voted to silence her.

Silenced by Identity Politics

Silenced by Identity Politics

That was truly upsetting new for me.  I dropped a black inked hood over the face of Nike; and I kept going. A portion of the monoprints, made when the artist was upset about a silenced woman, are on exhibit at SILENT. SILENCE. SILENCED. at Atlantic Works Gallery .

This is the process. We use our skills, our sensitivity, our history, our bodies. and react to social, political and aesthetic conditions in our environment.

The black, hooded icon consumed my work for several days, initially expressing censorship; female censorship; and then moving on to reference images of racism, terrorism, and public degradation, execution, religion, and war as realized by a simple, stark, isolated hooded black face.

A hood/sack placed over a human head silences; humiliates; deprives a person of soul and individuality, while at the same time identifies that person as a single member of an oppressed group exploited by those more powerful.

I began thinking of a Female Goddess, Victory, who then became Silenced, who then became a an meditative icon.  An image is in effect in service to power. No one has ever cut off your head or mine. You are like me: a human being who speaks, an artist.

Silent. Silence. Silenced

2017-11 Silent Silence Silenced Palamidessi

November 4 – 25, 2017

Silent. Silence. Silenced, at Atlantic Works Gallery, pits the duality of quietude vs. inquietude within a provacative month-long show that is likely to stir up some controversy.

Exploring the particulars of silence, Boston artists Charlene Liska and Christine Palamidessi slide between sound made visible and the unquiet silence of nature; between the shrouding of a spokesperson and the aftershock of decapitated explosives. Each artist takes a different approach while working together to consider both the existential character of silence as well as the modes-of-being that cause us to remain or appreciate the silent, whether we have been made speechless by regime or silenced by awe.

Palamidessi’s sculptural work and monoprints re-mythologize noisy historical and contemporary events, with deliberate subtraction of sound and actions of self-censorship.

Using video and photography, Liska layers the psychological with the scientific, looking at the unreliability of perception and sound, the anxiety resulting from loss of signal, and, finally, the joy of small sounds.

Several artists have been invited to participate in the Silent. Silence. Silenced exhibition:
Christine Coënon, French sound artist.
John Wilkinson, Boston mobile maker.

Opening Reception and Special Event:Saturday, November 4, 6-9pm
“Everything You Wanted to Know About Abaya But Didn’t Know Who to Ask”
Three Arab women, in full black abaya, will answer questions about the experience of being silenced, or not, by their garments; as well as share the cultural history of the abaya.
Third Thursday Artist Talks: Thursday, November 16, 6-9pm
Gallery Hours 2:00-6:00 pm Fridays and Saturdays, or by appointment

Here and There

New England artists investigate place

Saturday October 14 – Friday October 27th

“[Places] give us continuity, something to return to, and offer a familiarity that allows some portion of our own lives to remain connected and coherent.”

Rebecca Solnit, The Faraway Nearby

Vermont College of Fine Arts offers a low-residency MFA in Visual Art program, and so students of the program inevitably end up thinking about place and what it means. The program is here (Montpelier, Vermont) and it is there (wherever students live and work). Threads from across the country and sometimes globe meet in Montpelier and connect students, teachers and alumni. In Here and There, thirteen alumni of the program offer their interpretations of place and what it means to them. In addition to attending VCFA, Renee Lauzon, Muriel Angelil, Heather Park, Chip Rutan, Sumru Tekin, Kim Darling, Valerie Hird, Sabrina Fadial, Brian Zeigler, Samantha Eckert, Wendy Powell, Maggie Nowinski and Leah Grimaldi have lived or currently live and work in New England.

Opening Reception Saturday, October 14, 6-9pm
Third Thursday Reception and Artist Talk Thursday, October 19, 6-9pm
Gallery Hours 2-6pm Fridays and Saturdays, or by appointment

"IF THEY WANT POSTCARDS, I MAKE POSTCARDS"

“IF THEY WANT POSTCARDS, I MAKE POSTCARDS”

For the Silent. Silence. Silenced. show at Atlantic Works Gallery, Charlene Liska and I worked together to come up with an attractive and informative post card that would serve multiple purposes:

  1. A Hand-out to give friends and family.
  2. An immediate mailer/invitation. There’s no envelope to open.
  3. A good-looking ‘small flyer’ for us, fellow artist friends, and student volunteers to leave at coffee shops and to pin on announcement boards at museums, cultural organizations, and student centers, etc.
  4. A calling card for when we visit galleries this month.
  5. A possible bookmark and legacy stash.

Front of Charlene Liska’s postcard for Silent. Silence. Silenced.

Decisions to make before designing an Art Exhibit Post Card.

  1. What’s on the Front? Usually an image. Could be words.
  2.  What Goes on the Back? Who-What-When-Where ( more later).
  3. Size. To qualify for First-Class Mail postcard rate the card has to be rectangular, at least 3-1/2 inches high x 5 inches long x 0.007 inch thick and be no more than 4-1/4 inches high x 6 inches long x 0.016 inches thick.
  4.  Print Run. How many to  print?
  5.  Budget. How much money you have to spend on this aspect of promotion//marketing?

As far as print run: we decided to print 500 postcards and print two different front images.  We shared identical print information on the back of the post card and varied the image on the front 250/250.

Front of Christine Palamidessi post card for Silent. Silence. Silenced.

Finally, here are the five main points to keep in mind when putting your post card all together:

  1. Plan ahead.  Have the postcards ready 1-2 months before your show opens. This means not only do you need to design the card, but communicate with your printer to find out his/her lead time. So work backwards from your desired date of having the post-card in hand and then line up all the things you need to do to make it happen.
  2.  Who. What. When and Where. Yes, you’ve heard this before and you’ll hear it again. Who (your name) What (name of show and definition of show–is it a pop-up, a month-longshow, a one nighter?)  When (the run date of the show as well as the date of the Opening Night and any other special events during the run of the show) Where (name of the gallery, or venue, and the address. Include zip code and phone number of the gallery and the gallery/venue website. You may consider putting your own phone number on the card, as Charlene and I did,  but realize your phone number may end up on someone’s solicitation list.
  3. Establish Credibility. Be sure to proofread everything. Use high resolution photos/jpg. A sloppy looking card communicates ‘a don’t care/don’t know/I make mistakes attitude’ — which you probably don’t want to do unless that’s the theme of your exhibit, which has its own set of decisions and contradictions not addressed here.
  4. Keep It Clean and Easy. Fewer words are better than a lot of words. People appreciate quick-to-eye grab information. (look at image below–left side of the back of postcard)  to see how we varied caps and lower case, as well as grey and black inks.)
  5.  Ask Friends and Art Community to Help Spread the Word &  Distribute Your Post Cards (drop off, mail, post in their place of work) .