Christian Möller Art For Humans

Title: At the awarding of the state scholarship for intellectual emancipation we remember the table service
Size: 146x230 cm
Medium category: Painting - Acrylic


THE ART FOR HUMANS GALLERY CHINATOWN is pleased to present "Kingdom Come Youth", an exhibit of paintings and drawings by Berlin-based artist Christian Möller. The program for "Kingdom Come Youth," will include the execution of a large painting by the artist on-site at the gallery, during the exhibition run.


Show dates: SEPTEMBER 5-15; with a RECEPTION FOR THE ARTIST on SEPTEMBER 8, from 6-10PM.


ART FOR HUMANS GALLERY CHINATOWN

945 Chung King Road
Los Angeles, California 90012

GALLERY PHONE: 213.621.7685
GALLERY FAX: 213.621.7635
EMAIL: artforhumans@gmail.com

12-6 MONDAY THROUGH SATURDAY
WEEKEND EVENING HOURS
& by appointment

A 4D EXHIBITION PROJECT JUNE 1-SEPTEMBER 30

www.artforhumans.com
www.flickr.com/photos/artforhumans/sets/
www.myspace.com/artforhumans
www.youtube.com/artforhumans



Thank you very much indeed for your interest

The cream of the crop for you



All the best

Christian


www.christianmoeller.eu
www.myspace.com/christianmoellerartist
www.artnews.info/christianmoeller

Statement:

The paintings of Christian Möller exert an exotic attraction. Developed merely in black and white tones on large canvasses, the intense, attenuated and pushed movements draw the viewers attention into an impenetrable thicket of compact and transparent forms. They remain fragments rendered two dimensional, however they are in every section modelled multi-layered colourspaces. In no place do these brushstrokes evoke peace and resignation or inner balance in the circling, directed, elliptical or linear forms. More than that, the restlessness and shorthanded notation of colours, which is an intense series of signs and letters scribbled in extreme excitement comparable to a letter or entry in a diary and forming both a unity during the more distant process of reading as well as a readable message, is in danger of drowning on the canvass in a chaos of pictorial signs and endless spaces. Given over to the pull of cosmic breadth in the boundless universe, which is incomprehensible to human conception, single formed shapes reappear as unexpectedly out of the abyss as they disappeared.

The paintings of Christian Möller generate their inner tension in this border area between the surface of the canvass, which reveals the traces of the set colours, and the pictorial depth of colour modulation in endless ratios of black and white tones in all thinkable values of grey to dark black to brightly sparkling flashes of white light. They invite looking. They attract and allure the observer to be reluctantly involved in the dramatic event. Even when he, with aversion and fear of the unknown of such worlds which do not promise beauty, or enjoyment of the aesthetic but probably dread and abysses, tries to defend himself against these, and in trying to resist, then still only looks into himself. The images guide the observer, once submerged inside these dim labyrinth spaces, left alone yet directed by the artist, as Vergil by Dante in the "Divine Comedy", to the world of the inferno as well as to happiness, where life is played out. The longer one stays in these broad painted spaces and moves through them, the richer and more surprising the discoveries of those images which start to come up in our fantasy, occupying our thinking recome. These are not the images which obsessed Christian Möller when he departed on his artistic incarnations, but our own images, which we discovered inside of us........

Dr. Andreas Vowinkel in the catalogue: "Pictures. Very far away; on the invention of longing for a sky of only flowers, the waiting until dawn and the trap of being apart." published by Baden Art Association, Karlsruhe, Germany and Art Association Braunschweig, Germany 1998, ISBN 3-89309-083-5 "I allow a form more freedom, if I do not evaluate it with colours" (assign it colour)
(Christian Möller)

1963 born in Ludwigshafen am Rhein, Germany

Lives and works in Berlin, Germany

Education

1986-92 Staatliche Akademie der Bildenden Künste, Karlsruhe, Germany

Grants

2003 Stipendium Zeppelinhaus Berlin
2000 Fördergemeinschaft Kunst e.V.
1998 Stipendium der Kunststiftung Baden-Württemberg
1997 Stipendium des Saarländischen Künstlerhauses, Saarbrücken
1994-95 Preisträger beim Deutschen Kunstpreis
1993-96 Atelierstipendium des Landes Baden-Württemberg
1992 Stipendium des Vereins für internationalen Kulturaustausch an der Akademie Vytvarnych Umeni (Akademie der schönen Künste) Prag
1990 Studienreise nach Australien

Solo Exhibitions

(selection)
2006 wie Gott uns schuf, Sportklubhelga, Berlin, D
2005 neinesgehtgut, Kunstkabine, Berlin, D
2004 Valdez, Zeichnung, Kunstraum Karlsruhe, Karlsruhe, D
2003 Ein Tag wie jeder andere, Rua da Rosa 17, 2 esq /Bairro Alto/Atelier Luisa Sequeira, Lissabon. P
was das Zeug hält, Studio 1/Zeppelinhaus, Berlin, D
trashcash moron morphine machine, Galerie Junghans, Köln, D
2002 sognami il tempo all' indietro, L'istituto l'arte Malcini, Siena, I
was, für wen, wieso, Raum für zeitgenössische Kunst, Köln, D
2001 Come un caldo bagno schiuma di zucchero, Galleria Farfalla, Bologna, I
1999 Heute, hier und jetzt, Haus der Kunststiftung, Stuttgart (zusammen mit Axel Brandt), D
Andys Nerven, Das Kunstforum, Köln, D
1998 Ganz weit weg.; Über die Erfindung der Sehnsucht nach nur noch Blumen am Himmel, das Warten bis es hell wird und die Abseitsfalle, Badischer Kunstverein Karlsruhe, Karlsruhe, D
Team Araldi, Kunstverein Braunschweig, Braunschweig, D
1997 Jetset paradise monsterfactory, Art Association Carlington Road, Dundee, Scotland, GB
Assi 2000, Saarländisches Künstlerhaus, Saarbrücken, D
1994 Debütantenausstellung, Lichthof Staatliche Akademie der Bildenden Künste Karlsruhe, Karlsruhe, D
1992 Akademie Vytvarnych Umeni (Akademie der schönen Künste) Prag, Prag, CZ

Group Exhibitions

(selection)
2004 Modellsituation Berlin, Landesvertretung BW am Tiergarten, Berlin, D
2003 Intershop SüdstattSüd, Haus des Glücks, Kunstraum Karlsruhe, Karlsruhe, D
2001 Mit leichtem Gepäck, Zeiten der Liebe, Badischer Kunstverein Karlsruhe, Karlsruhe, D
Le parc des fleurs jaunes, Areal d'art, Nancy, F
Württembergischer Kunstverein, Stuttgart, D
2000 Gesellschaft der Freunde junger Kunst, Baden/Baden, D
Galerie Schloß Mochental, Ehingen/Donau, D
Kunsthalle Göppingen, Göppingen, D
1997 Städelsches Kunstinstitut, "Villa Romana Preis 1998", Frankfurt am Main, D
Das Kunstforum, Köln, D
1996 Freundeskreis Wilhelmshöhe, Ettlingen, D
Emy-Roeder-Preis, Kunstverein Ludwigshafen am Rhein, D
1994 Haus der Kunst, München, D

Bibliography

(selection)
1994 >> Katalog-"Wir Kinder vom Rhein", herausgegeben von der Staatlichen Akademie der Bildenden Künste Karlsruhe, Vorzugsausgabe von 100 Exemplaren in handgearbeitetem Umschlag, signiert und numeriert >> Katalog-"Deutscher Kunstpreis 1994/95", herausgegeben vom Bundesverband BVR, Bonn >> 1996 >> Katalog "Emy Roeder-Preis", herausgegeben vom Kunstverein Ludwigshafen a.Rh. >> 1998 >> Katalog "Ganz weit weg; Über die Erfindung der Sehnsucht nach nur noch Blumen am Himmel, das Warten bis es hell wird und die Abseitsfalle", herausgegeben vom Badischen Kunstverein Karlsruhe und dem Kunstverein Braunschweig, ISBN 3-89309-083-5, Jahresgabe des Kunstverein Braunschweig >> Katalog-Stipendiaten der Kunststiftung 1998, herausgegeben von der Kunststiftung Baden-Württemberg >> 2000 >> www.swo.de "Künstler des Monats März/April >> Künstlerportrait in den Badischen Neusten Nachrichten, veröffentlicht von Michael Hübl >> 2001 >> Katalog "Mit leichtem Gepäck", herausgegeben vom Badischen Kunstverein Karlsruhe, ISBN 3-89309-097-5 >> 2003 Katalog "was das Zeug hält", erschienen zur Ausstellung im Studio 1/Zeppelinhaus, Berlin 2003, Jahresgabe des Badischen Kunstverein Karlsruhe, Zahlreiche Rezensionen in Zeitschriften und Tageszeitungen

Minnie E. Miller

Check out my friend Minnie E. Miller blog and book!

Minnie E. Miller
About Me

I'm a native of Hyde Park, Chicago, though I've lived in many cities over the past thirty years. Since the age of eighteen, I have been an activist as well as a writer. My stories touch on political issues in metaphor; even my vampire characters are activists. My latest novel, The Seduction of Mr. Bradley, is a political statement on humankind. My books are available through minnie247@sbcglobal.net; on my website at www.millerscribs.com; on justbookz.com/; and on Amazon.com.


Minnie E. Miller's recent interview with author Don Barera, the go check out her blog. Read about Minnie's book, "The Seduction of Mr. Bradley", and then go to Amazon and BUY IT! :


It is my pleasure to present Don Barera, surely an African American role model, if you will. Mr. Barbera is a poet, a journalist, a writer, and a musician. What more can be added to his extensive biography, I asked? I’ll let him tell you.

db I don’t like to mention what I do in the real world because it is so mercenary that embarrasses me, so I’ll stick with my work. You’ve summed it up well, the only things I’d add are photographer and teacher. I am particularly proud of teaching because it the one place where you might see immediate feedback when someone suddenly grasps the idea. Now that I’ve said that, I have to go back on my word and say being a musician. As a performing musician you get to see the same thing—that contact with people. When something clicks—it is right there for you to see and it is pleasing to know that someone recognized what you were doing.

mem Don, please tell us where you are from and your education.

db I’m from a small town in Southeastern Kansas, called Independence. I was born in Nashville, TN but I wasn’t there long enough to know it. I grew up mostly in Kansas, but I spent summers with my grandmothers in St. Louis and Chicago. I’ve been to college and graduated three times. That’s enough about my school, because I don’t think it means much. Perhaps, if I had a degree in physics or math or chemistry I might think something of it. My main education came from being around a lot of smart people. These were not necessarily book smart people, but folks who understood life, living and people. As a musician, I learned a lot from the streets and as a journalist, there was no way I couldn’t learn because I dealt with the dregs of society and I’ll tell you dregs don’t always fall to the bottom, some rise to the top. For those that just must know, I went to Lincoln University (Jefferson City, MO) where Uncle Sam offered me a full scholarship to sunny Southeast Asia. I came back and took my undergraduate and master’s degree from Pittsburg State University. I also attended Langston University Urban Centre in Tulsa, OK. Now, I’ve said it and with the exception of newspaper work, I’ve never worked in the fields of my degrees.

mem I’m curious about your book of poetry titled Until it Ropes Like Okra: Rhymes in The Vernacular. You said in your Book Description, “If I do not succeed in making you laugh, embarrassing you, offending you or making you think then I have missed my goal.” Can you give us a little insight?

db I never take me too serious, but I take the world around me and what’s happening in it seriously. So when I say that “If I do not succeed in making you laugh, embarrassing you, offending you or making you think then I have missed my goal,” I mean that I intentionally try to make people set up and listen. If that takes cursing, broken English, fowl language, going against the Negro Thought Police, or the powers that be, that’s exactly what I will do and I will have some fun along the way. Offending people’s sensibilities is just the first step in getting them to think a little deeper in my way of thinking. So, as you read my poetry, you will see I murdered the King’s English or bruised it severely, but it was done with my tongue planted firmly in cheek.

mem About your writing, you’ve said, in reality you are a practicing writer who seems not to be able to pull your thoughts together into a cohesive story. Yet, you have worked in the print journalism industry for years. Expand on the journalist side of your life.

db I don’t mind having a bit of fun at my own expense, but when I worked the print media, deadlines were real. We had four editions of the newspaper and all stories had to be in on time. When you covered the City Council, the meeting might not start until an hour before the deadline and the portion I needed might be last on the agenda. I quickly learned to compose in my head and dictate the lead, body and close over the telephone. It wasn’t easy, but on the other hand most newspapers are written on an 8th grade level. So, it shouldn’t have been a problem seeing that I was a college graduate. Right? We didn’t care much for television or radio reporters who we referred to as “rip and read” artists. We used to watch the various TV stations gathered around the paper boxes waiting to get a copy of the newspaper so they would know what’s going on in the world. I didn’t find it amusing while riding home from work to hear my story on the radio or later that night on the TV almost word for word. It still happens today. I will read the newspaper and then see the exact same story on the television only they add some pictures, but keep the same words. Nevertheless, I enjoyed it. I just didn’t make any money. So, when the chance came along to make money—I sold out.

mem Have you always been this speculative? Let’s explore that, if you don’t mind.

db Always! Always. I went to Catholic school back when corporal punishment in schools was still allowed and I think it set me on the road to asking questions and not being satisfied with one word answers or for that matter, anything that sounded memorized. I have a keen nose for bullshit and even a better ear for phoniness. So I am a skeptic and always want to know “the rest of the story.”

mem Who are some of the writers you most enjoy?

db Of course, I enjoy almost all the classic black writers of the Harlem Renaissance. James Baldwin, Countee Cullen, Langston Hughes, Zora Neale Hurston and more. My personal library is filled with hundreds of books and they cover the gamut. I read books on physics, forensics, astronomy, early inventions, logic, critical thought and medicine. I also read Michael Crichton, Laurence Sanders, Robert Ludlum and more. For the past 10 years, I read more non-fiction than fiction. My favorite writers of non-fiction are John McWhorter, essayists Nathan McCall and Ralph Wiley, historian John Hope Franklin and Cornell West, who I have mixed emotions about. My latest hero and writer is Ayann Hirsi Ali. She is my new hero and my admiration for her just as a person goes deep.

mem Where are you now in your career, and what writing projects are baking in your very productive oven?

db Now I am tackling several projects at once. Two are non-fiction pieces about African American health. One has to do with depression among African American men and the other has to do with finding new solutions to old problems in the black community. I’ve actually finished the depression piece. In the area of fiction I just finished “Suicide Squeeze” a psychological murder romance that takes place in a small town. I’m about to finish a third non-fiction piece and I am looking for a cartoon illustrator. It’s called Tales of a Frequent Flier: View from the Middle Seat. It’s comedy. I always have several short stories going, a little research and my poetry. So, I stay busy writing. That’s the only way I figure I can get any good at this stuff. I have to keep practicing because it doesn’t come to me easily.

mem What legacy would you like to leave your family?

db I hope my legacy is my work ethic and attempted honesty, a goal I’ve failed at miserably. Still, I’d like to instill those thoughts and the idea to always look deeper and think. Those are the things I believe will at least help make sense of the world to them. It may not make them friends, but it may bring them some happiness like I’ve had. Of course, I will be leaving my books to them and my grandsons. Without a book none of us would have made it this far.

mem Any comments you would like to add?

db Never, never give up. Believe in yourself and get the lead out of your ass. Keep moving because moving targets are more difficult to hit.

mem Where can Until it Ropes Like Okra: Rhymes in the Vernacular be purchased and how can you be contacted.

db Until It Ropes Like Okra: Rhymes in the Vernacular can be purchased at Amazon.com, Barnes and Noble and most on-line book stores. I can be contacted at ramon.vegas@tx.rr.com. That’s the easiest way to reach me.

mem Thank you, Don Barbera. It has been a pleasure talking with you. I hope to hear more from your muse; I suspect it will be ongoing.

We leave you with a poem from Don’s book:


The Same Old Song


I’m taking my hands off the wheel,
then I’ll be getting out real slow.
I’m slidin’ across. I know the deal.
Stick my hands out and open the door.

Putting my hands behind my head
and I’m backing up in small steps.
Don’t want to accidentally end up dead
and a chalk mark be all that’s left.

No, I ain’t got nothing sharp in my pocket.
Got my license and registration in my hand.
Keeping my hands visible, my arm in its socket.
Won’t make a move from where I stand.

Thank you officer, I’ll be on my way,
headin’ home, my money’s all been spent.
I’ll be driving slow and I’ll be playing it safe
because I don’t want to be another accident.

Minnie E Miller
Author

Joyce DiBona

Monkdogz Urban Art represents my work in New York. Robert (Bob) Hogge and Marina Hadley have done an amazing thing by creating one of the top galleries in Chelsea and the world.

I recently met a new friend on selfportrait.net that shows with Monkdogz as well. Below is info about Joyce DiBona, her art and the upcoming show she is participating in at Monkdogz Urban Art.

Above are some of Joyce Dibona's glorious pieces. Be sure to check out her website.

~~*~~

When: Opening: Thurday, July 19, 2007
Exhibition: July 19 through August 11, 2007

Contact: Joyce DiBona
512 965-7073
dibonastudio@yahoo.com
http://www.joycedibona.com

Austin, Texas (June 28, 2007) Austin Artist Joyce DiBona has been accepted to the juried International Show “Heat” The Next Tortured Genius 2 in New York City. She will be showing the tattoo sculpture “Voyage to Consciousness”. Ms. DiBona has her own studio/gallery in Austin, near downtown. She was chosen as one of twenty eight artists from around the world to be showcased in this International event in the heart of the gallery district in Chelsea NYC.
Additionally, while in New York, Joyce will be interviewed by Modern Mask (http:www.modernmask.org) an online ezine in New York City featuring reviews and features on Television, Film, Theater and The Arts. She will be featured in the Fall edition of this magazine.
Joyce DiBona’s work can be viewed at: http://www.joycedibona.com, and studio visits are welcome. She is currently working on several new tattoo sculptures as well as oil painting on canvas, and a new series of tapestry type paintings based on The Tibetan Book of Living and Dying by Sogyal Rinpoche.

"HEAT"
(The Next Tortured Genius 2)
July 19 - August 11 2007
International Juried Exhibition
Juried by The Monkdogz Urban Art Directors Group

Like most reputable galleries throughout the world, Monkdogz Urban Art Inc., in the Chelsea District of New York City is looking to the future of art. We also realize on some level that we are in a unique position to help create tomorrow's art realities. We are on an international search for artists whose work is driven by talent, desire, impact, imagination and a sense of purpose.
Who will be remembered as the art icons of the 21st century?
Selected works will be exhibited at Monkdogz Urban Art Gallery
July 19 - August 11 2007

http://www.monkdogz.com/chelseagallery/intro.htm


http://www.joycedibona.com


“Voyage to Consciousness”

For many years I have worked in three-dimensional painting around the human form. This work eventually led me to the tattoo sculptures. This medium allows me to combine iconography with literary elements in a personal and meaningful way.

After the sculpture and base painting are completed I begin the work of pen and ink. Each piece usually takes me about four to six months to finish. “Voyage to Consciousness” is a road map of spiritual travels and expanding awareness. I moved around the human form with words and imagery in the spirit of a dance. Ancestors, totems and future possibilities flowed through pen and ink. Like the handprint on the cave wall, this work felt more like “memory” than creation. In this medium it feels as if I have greater access to a stream of consciousness in the creative process. Although it must be calculated work, I am working on a “canvas” that is constantly changing as I wrap imagery and literary elements around the human form. I am often surprised at the final outcome.

These pieces seem to lend themselves to concept and theme. “Pintographs” was my first tattoo piece and was born from a meeting with poet raulrsalinas. It conveys in an artistic form the style, spirit and iconography of Chicano prison art. I am currently working on a piece based on perception of good and evil.

For me this work is a declaration, a celebration, and a “handprint” on the most interior walls. It is ink on skin.


Joyce DiBona

~~*~~

Congrats to Joyce! Be sure to check out her site and her art along with Monkdogz Urban Art.

~Kathy


Kathy Ostman-Magnusen
free art gifts




Monkdogz Urban Art, New York



My art page at Monkdogz:




"Circus" 48x36 oil on canvas
by Kathy Ostman-Magnusen

Kathy Ostman-Magnusen
free art gifts
http://www.kathysart.com

~*~

Myron Dyal's Art

Visions made real
The installation "Twins of the Night" by Myron Conan Dyal is part of "Primordial Images of a Modern Mystic," a one-man show at the CSUF Grand Central Art Center in Santa Ana.


Visions made real
"The Protector" by Myron Conan Dyal is part of "Primordial Images of a Modern Mystic," a one-man show at the CSUF Grand Central Art Center in Santa Ana.



Visions made real
Myron Conan Dyal, who has quietly pursued his singular art form, unveils his works to the world.
By DANIELLA WALSH


Special to the Register
Sculptures of mermaids with webbed hands, a huge spider transporting a load of human skulls on its back, flowers sprouting eyes and an assortment of humanoid beings with faces that could easily be used in films like "Night of the Living Dead." Then there are paintings of masks and mysterious, painted manifestations of the artist's vision and invention, including an assemblage featuring a viola growing a melancholy human face.
All have their origins in the mind of Myron Conan Dyal, 63, a self-taught artist who, after toiling for 35 years as a telecommunications executive, is about to chuck the corporate world and devote himself to making art full time.
Art became his true calling in the late 1970s, he said, and since then he has created a body of work comprising more than 6,000 drawings, illustrated journals, paintings and sculptures. Now, with Dyal ready at last to unveil it to the greater public, the CSUF Grand Central Art Center in Santa Ana is staging "Primordial Images of a Modern Mystic," a one-man show spotlighting sculptures, paintings, drawings and a small selection of sketch books filled from 1986 through 2000. Alas, one can only see two pages of each book since they are, understandably, displayed under glass.
Drawings range from a delicate image of a woman merging into the body of a serpent ("She Surrounded Me with Love," 1984) to a detailed pencil drawing that makes one wonder if his visions included visits from Picasso.
At opening night, the show drew appreciative crowds, even if some viewers appeared a bit mystified by his darker works such as "The Underworld," 2007, an installation featuring roughly 40 otherworldly-looking sculptures of "people" and animals in the black-lit back gallery. (The overall effect is a bit like "Star Wars" meets creatures of the bayou.)
The artist is prolific: The majority of pieces have been done in less than a year, which is something Dyal attributes to feeling like a manic depressive, without the depressive, when he is on a roll. "When I am in a creative space and my visions start, I am so driven that my energy levels go off the scale. I work 17 hours a day and do not go to the office," he said. It's not surprising for him to work on three or more paintings at a given time.
Yet, one never gets a feeling that any of the pieces have been rushed – on the contrary, the entire ghostly back gallery crew, including a keyboard wielding "man" who alludes to Dyal's past as a professional musician and singular sculptures such as "The Goddess of Autumn," 2007, or several beautiful mermaids are carefully executed in great detail.
Dyal creates his sculptures, with the exception of one lovely assemblage titled "The Spirit Goddess in the World," 2004, from papier-mâché applied over metal armatures. Faces are first sculpted in clay and then covered in papier-mâché and painted along with the rest of the bodies in a palette of greens, yellows, reds, blues and blacks. The result is truly otherworldly, magical and yes, somewhat disquieting even if the palette becomes somewhat repetitious after a time.
"I create from visions that I have had since age 4, after I woke up from a four-month coma during which my mind was erased," he said. He added that these visions, accompanied by physical seizures, defined his childhood memories and caused his strict fundamentalist Christian parents to have him exorcised for demonic possession twice and to severely punish him for his "tantrums." However, Dyal emphasized that they never sought medical help for their younger son. "I learned to recognize the oncoming of seizures and just hid in a closet until they were over," he recalled. A 2004 painting titled "I Saw a Heat that Spoke to Me of Love" and "The Domination of Religion," 2005, will resonate with viewers familiar with his story.
Accepting his seizures and ensuing mental time lapses as spiritual manifestations, he said that he was still able to obtain a bachelor's degree in music from Cal State Long Beach (1971) and build a successful professional life. He said he was not diagnosed as an epileptic until his late 50s when divorce proceedings forced him to undergo psychiatric and medical evaluations. (Dyal tells his story in an online book titled "The Boy Nobody Wanted: Visionary Experiences Behind the Art" on his Web site www.myrondyal.com which also offers a link to MySpace.com, where the artist is building a notable fan base.)
Dyal says that after decades of keeping his work and its sources secret, he outed himself through the Web site – to the amazement of his colleagues at Digital Communications Corp., where he is vice president. "No one had been aware of my other life until then," Dyal said.
He also mentioned that he "dances" out each work in special ceremonies that involve communing with nature in the San Bernardino Mountains. He lives and works in Chatsworth.
When the Grand Central, under the curatorial leadership of Mike McGee and Andrea Harris, first conceived this show, those involved could not have possibly imagined how timely it would become. It is said that the role of art and museums nowadays is to provide, besides education and enlightenment, entertainment and escape. Dyal's art offers, if nothing else, an escape into a different reality. And, given the current state of the universe, escape is good.

www.startsoma.com/propagandaIII.html

Uncle Tom's Condi Rice Now Showing:

PROPAGANDA III: WORLD TOUR 2007

Propaganda

PROPAGANDA III will tour the globe through 2008, with dozens of one day art shows worldwide - the current schedule includes stops throughout north america, south america, australia, asia, europe, and the middle east. NO art will be sold at any of the shows, although copies of the posters will be available for sale directly through the websites of participating artists. This is NOT a commercial art show, but rather a celebration of free speech + untrammeled freedom of expression. PROPAGANDA III opens in San Francisco on July 4, 2007. The exhibition will travel the world for at least one year, adding posters throughout the tour. The PROPAGANDA III show will close in San Francisco sometime in late 2008.

The final collection will be donated to the Center for the Study of Political Graphics in Los Angeles. With over 50,000 posters, the CSPG archive is the largest collection of Post World War II graphics in the United States, and we are absolutely honored that the posters from PROPAGANDA III will have a permanent home following the world tour.

See the collection here:

Propaganda Gallery Online

Terri Lloyd
Artiste de resistance

Casa: 323-254-7505
Cell: 323-691-8565

http://www.hairycarrionarts.com
http://www.terrilloydcompany.com


In everything, give thanks.

---------------

Blessings to Terri!

Kathy

PS check out my new squidoo

Check out "Legend of Pegasus & A Field of Flowers"
http://www.squidoo.com/legendofpegasus