June shared her early career experiences: traveling alone to Mexico at the age of 18 to do a one-woman show, working as a painter on a WPA Art Project as a writer for WGN radio in Chicago, and then going on to work as a blueprints illustrator in Los Angeles. She chronicled her visit to Paris in 1960. Before she started Tamarind Lithography Workshop, June went to Paris to research the European approach to printmaking. There, she learned that master French printers were always treated as artisans whose contributions to the final print were never documented. In launching Tamarind, she wanted to make sure that both the artists and master printers were credited, and that their contributions were carefully documented and shared with print dealers and collectors. She was also keen that the artistic scope of Tamarind be broad and not subject to the stylistic whims of the moment, and wanted the master-printers trained in working in an array of styles. While Tamarind was enormously successful, June decided at the end of the sixties to phase out her direct involvement, and moved the lithography workshop to the University of New Mexico.

At about this same time, she began collaborating with French tapestry weavers. In fact, during this studio visit, June spoke to the group while standing in front of several of her large tapestries. These tapestries display her 'quantum aesthetics' style and demonstrate her lifelong commitment to collaboration.

June spoke of the origins of her "Joan of Art" seminars, where every woman who attended had to agree to host the seminar for another group of women. She employed role-playing as a core technique in the seminars. Participants would act the part of the artist, dealer, or collector in order to learn how to negotiate with dealers or collectors.

As the studio visit came to a close, June answered a variety of questions from the group. She also credited the presence of good friends, with whom she could always ask and receive direct, honest feedback on her work or her ideas. She urged each of us as women artists to do the same.

JUNE WAYNE has a career that spans more than sixty years. She refers to her style as Quantum Aesthetics. "Magnetic fields are as real to me as were cornfields to Vincent Van Gogh." Her paintings, prints, tapestries, and videos have been widely exhibited here and abroad. In 1999 she was guest of honor at the Bicentennial of Lithography at the Bibliotheque de la Ville de Paris. Her lithos, loaned for the occasion by the Bibliotheque Nationale of France, occupied the central wall, flanked by Matisse and Picasso in recognition of her international influence on printmaking via Tamarind, which she founded in 1960. Her multi-medium traveling retrospective, organized by The Neuberger Museum, was seen at LACMA from November 1998 to March 1999.