Work in Progress

Working title: The Great Leap of Faith: Now is the Time of Woman

A visual and poetic journey toward earth healing that asks:

How does humanity even begin to work towards rescuing itself from insanity?

First we must name the problems in order to find the solutions.

Then we can start by leading our own life and seeking our truths.

We start by not settling.

We start by questioning.

By asking who controls us/theworld?

We start by looking around us and seeing the truth and not denying it.

Is there really evidence of concentration facilities in the US?

We start by knowing what we would like to see on the planet, on the earth and for the children.

We start by living and loving and learning how to lose and say goodbye and face up to our weaknesses and to bolster our strengths.

We learn by looking around us and seeing the oppression and suffering of other people and animals and trying to feel it, even though we ourselves are neither suffering or desperate in any way.

We never can truly feel it, not when we are privileged or healthy.

When we can walk when others can't, we cannot truly ever know how it is, but we can imagine it. We can try to feel it and try to put ourselves in that being's place of suffering.

Doing this teaches us compassion, respect, love and understanding, which, when combined can ultimately make this world a livable place for all who inhabit it.

Please enter your name and email address in my guest book to be among the first to receive this book when it is published. Your entry will determine how soon the book will be printed. The more people interested, the sooner the book will be published. Please tell your friends about the book too.

You will be alerted when The Great Leap is published.

If you need a reason to order this book, take the time to read what Michael Parenti has to say about art in his book, The Culture Struggle ...

"What is referred to as the 'art world' is not a thing apart from the art market. The latter has long been heavily influenced by a small number of moneyed personages like Huntington Hartford, John Paul Getty, Nelson Rockefeller, Paul Mellon, and Joseph Hirschorn, who have treated artworks not as part of our common treasure but, in true capitalist style, as objects of pecuniary investment and private acquisition. They have financed the museums and major galleries, the art books, art magazines, art critics, university endowments, and various art schools and centers- reaping considerable tax write-offs in the doing. 1 As trustees, publishers, patrons and speculators, these wealthy few and their associates also exercise an influence over the means of artistic production, setting implicit ideological limits to creative expression. While they cannot always predetermine artistic output, they exercise much control over its distribution." 2

Artists who move beyond acceptable boundaries run the risk of not being shown. (Italics mine. I have never been invited or accepted to exhibit my art in any art institute anywhere on the planet, having then resorted to reproducing my art to survive financially, I fall into the category of "commercial artist" and thus my art becomes unviable, bona-fide, fine art material: Catcha22?)

...In most high-toned art circles, political art that contains radical content is treated as an oxymoron and labeled "propaganda." Art and politics do not mix, we are told — which would be news to such great artists as Goya, Daumier, Picasso, and Rivera.

While professing to keep art free of politics ("art for art's sake"), the moneyed gatekeepers impose their own politically motivated definition of what is and is not art. For years, the art they bought, showed, and had reviewed was usually Abstract Expressionist and other forms of  "non-objective" art, a genre that is sufficiently ambiguous to stimulate a broad range of aesthetic interpretations, having a sufficiently iconoclastic and experimental appearance while remaining politically safe in content ...

Or lack of content. In more recent times as artists have reverted to a more realistic form, their art is still usually devoid of critical social themes. One need only visit our museums and galleries to find confirmation of this point.