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Christopher Kent Schumaker: Audience for the Other (1996, Digital Scan from Glass Plate Composite) All of the works in Christopher Kent Schumaker's new book My Strangers were made during a time of great duress in the artist's life. Janine Brown at Art Share LA Janine Brown's "Wallflower Project" is a portrait series in which individual subjects seem to emerge from wisps and filigrees of the unique, vintage wallpaper patterns of the backgrounds that surround them. Yi Hwan Kwon: Beach, 2013, hand-painted acrylic Yi Hwan Kwon's eccentric and arresting sculptures and environmental installations are both the sites and the triggers for an explosion of cognitive and visceral dissonance. Dwora Fried: Traditional Family Values The diorama box recalls that most universal of middle school assignments -- to build a model of the solar system, for example, or your family portrait, a book report, the signing of the Declaration.
The "Blue Violet" level of consciousness, which exceeds above and beyond the level of "Turquoise Intuition", shows up from time to time, in the outer spectrum of my paintings (you will be able to see this in my 2010 painting "The Inner Elastic Ego Collaborates with the Extrinsic Collective Ego"). To consciously maneuver beyond the negativity of our inner ego, my paintings and drawings have another symbol that attempts to help us to move beyond our strong and powerful ego. If you would like more details, be sure to check out Michael's exquisite exploration of integral aesthetics: Looking at the Overlooked.


Remarkable it is that the artist consciously decided to make such a painting in the first place—a sign of displacing focus on self-expression in lieu of effortless second tier compassion that honors all waves of development. In the 80's, I enjoyed his [Salle's] bombastic historic multiplicity, but his content was nil.
Wetzl's painting possesses a syntax and order of perspective complexity proper to the postmodern-green wave. The bulk of Wetzl's work on display is addressed to audiences ready for integral waves of seeing.
David Wetzl is an integral artist who works with admiration and respect for the modern and postmodern lineages of painting, creating art that serves the varying development needs of his audiences—an art of integral care. 4 Wetzl very briefly discusses Diebenkorn in his "Notes on Windows '03," unpublished manuscript, p. 5 We do well not to equate aesthetic valuation with development in consciousness, although the latter can affect the former.


Much of the artist's recent work is explicitly concerned with communicating the look and feel of the evolutionary spiral. Magazine, Contributing Editor to Art Ltd., and a contributor to the LA Weekly, Flaunt, Huffington Post, Palm Springs Life, and KCET’s Artbound. There is a dynamic and novel shaping of the format, resulting in a brilliant integration of composition and field shape. She studied Art History at Vassar College, writes loads of essays for art books and exhibition catalogs, curates one or two exhibitions each year, and speaks in public with alarming frequency. And rather than a flatland of semantically random imagery, Wetzl includes robust symbols and a depth of allusive meaning, based on his creation and deployment of an integral iconography.




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