Not exact matches
The religious understanding
of the conflict
between good and evil, the fact
of the stubborn resistance
of the human heart to the love
of God and its demands, the
vision of the divine strategy
of sacrificial love in the
life and death
of Jesus as the climax
of history, all this is foreign to most
of the philosophies
of progress, but it was the heart
of the great expressions
of Christian liberalism.
Nevertheless, as we have seen, there is a small but growing number
of scientists, both in physics and biology, who operate with a relational model, who see some correspondence
between the constructs
of the mind and reality itself, however inexact, and who also see the possibility
of restoring the experience
of meaning if the non-human natural world is perceived as dynamic, creative, full
of life and purpose, whom process thinkers have engaged in conversation; together they have attempted to explore new
visions of reality
better suited for adaptation to the urgent needs
of the contemporary world.
SELECTED GROUP SHOWS: 2018 Open SpacesKansas City, MO 2018 Color
of the Year Presented by Pantone and X-RiteUrban Institute for Contemporary Art, Grand Rapids, MI 2017 Solar Flair: Celestial Bodies in MotionAlbrecht Kemper Museum
of Art, St. Joseph, MO 2017Light and ShadowMildred M. Cox Gallery Kemper Center for the Arts William Woods University, Fulton, MO 2017The 19th Annual National Juried Competition,: «Works
of Paper» 2017Long Beach Foundation
of the Arts & Sciences, Long Beach Island, NJ 2017 - 2018 Teardrops That Wound: the Absurdity
of War, George Tsutakawa Art Gallery, Wing Luke Museum
of the Asian and Pacific American Experience, Commission Work «Break Into Blossom», In collaboration with Phong Nguyen and Justin Shaw 2016
Vision: An Artist's Perspective, Gutfeund Cornett Art Kaleid Gallery San Jose, CA 2016 Novus Conceptum, Hannah Bacol Busch Gallery Bellaire, TX 2015 Generations: Forty Hues
Between Black and White, OCCCA (Orange County Center for Contemporary Art), Santa Ana, CA 2015 Somewhere
Between Black and White, Fiber Art Network, Arizona State University, Tempe, AZ 2015 Old Enough To Know
Better, Cranes Art Gallery 105, Philadelphia, PA 2014 The 2nd Annual Juried Artist's Book Exhibition, WoCA Projects, Fort Worth, Texas 2014 The
Living Mark Verum Ultimum Art Gallery, Portland OR 2014 Subconscious, Flow Art Gallery, St Louis MO 2014 A Dream and a Memory, St. Louis Artist Guild, St. Louis MO 2013 Missouri 50, Fine Art Building Sedalia, MO 2013 Art / Identity, Gallery 263, Cambridge, MA 2013 26th Annual Women's Work, Old Court House, Woodstock, IL 2012 Contemporary Women Artists XVI, Saint Louis University Art Museum, St. Louis MO 2012 UCM Faculty Show, UCM Gallery
of Art and Design, Warrensburg, MO 2012 Color!
, you are lying on the floor
of your place looking up, a small draft runs through the room,
between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions
of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts
of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions
of universalism, and I'm glad we don't, but the particles
of air bring traces
of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door
of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound
of a drum, like that Kabuki story where a fox recognizes the voice
of its parents as a girl plays a drum made out
of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all
live here now, and we all need
visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but
well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse
of a concrete wall and you can feel the tectonic movements
of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light
of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign
of love, like singing to a corn field, and all acts
of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for
life in all things declared dead, a kind
of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,
New York and North Adams, Massachusetts, Drift
of Summer, RM Gallery, Auckland, New Zealand Observe / Recognize, Berlin Gallery at Legends Santa Fe, Santa Fe, New Mexico 2010 Collision, Rhode Island School
of Design Museum, Providence, Rhode Island Lush
Life, Invisible Exports Gallery, New York, New York Everyday Mystics, Patricia Sweetow Gallery, San Francisco, California Vantage Point, Recent Acquisitions, Smithsonian National Museum
of the American Indian, Washington DC Raw State, Shelby Street Gallery, Santa Fe, New Mexico New Paintings, Staley Wise Gallery, New York, New York Alluring Subversions, Timken Art Center, California College
of The Arts, San Diego, California Currents, University
of Northern Colorado, Greeley, Colorado organized by Cicely Cullen 2009 On Stellar Rays, Lover, New York, New York, organized by Kate Gilmore and Candice Madey Signs Taken For Wonders, Jack Shainman Gallery, New York, New York, organized by Isolde Brielmaier, Surveillance, Affirmation Arts, New York, New York, organized by Rachel Vancellete Solution, DiverseWorks, Houston, Texas, organized by Janet Phelps Eiteljorg Museum, Recent Acquisitions, Eiteljorg 2008 - 09 Fellows, Indianapolis, Indiana The Banality
of Good, Claremont Graduate University, Claremont, California, organized by Chris Christion Currents, Metro Visual Arts Center, Denver, Colorado, organized by Cicely Cullen Relevant, Nathan Cummings Foundation, New York, New York, organized by Amerinda 2008 Blueballs, Production Fund LAB, New York, New York, organized by Jackie Saccoccio
Visions, Flushing Town Hall Projects, Flushing, New York, organized by Omar Lopez - Chahoud Voices
of the Mound, Institute
of American Indian Arts, Santa Fe, curated by Linda Lomahaftewa - Singer Kentler International Drawing Space and Long Island University, Native Voices, New York, New York 516 Arts, Cautionary Tales, Albuquerque, New Mexico, curated by Holly Roberts Jersey City Museum, 1 × 1 Project, Shameless, Jersey City, New Jersey, curated by Rocio Aranda Alvarez Circa Art Fair, Puerto Rico, with Samson Projects Volta 4, Basel, Switzerland, with Samson Projects 2007 SONOTUBE, Santa Barbara Contemporary Arts Forum, Santa Barbara, California, curated by Miki Garcia Off The Map, The National Museum
of the American Indian, Smithsonian Institution, New York, New York, curated by Kathleen Ash - Milby New England School
of Art and Design, Boston, Massachusetts, organized by Charles Giuliano Postmillennial Black Madonna (in two parts): Paradise @ MoCADA, and Inferno @ Skylight Gallery, Brooklyn, New York Newark Open 2007, Newark, New Jersey, organized by Omar Lopez - Chahoud 2006 The Aldrich Museum
of Contemporary Art, No Reservations, Ridgefield, Connecticut, curated by Richard Klein Paul Kopeikin Gallery, Paperworks, Los Angeles, California, curated by Daria Brit Shapiro Westport Arts Center, BROOKLYN, Westport, Connecticut, curated by Amy Simon State University
of New York, Paumanoka, Stony Brook, New York, curated by Stephanie Dinkins The Jersey City Museum, Tropicalisms, Jersey City, New Jersey, curated by Rocio Aranda - Alvarado ARCO, Madrid, Spain, with Samson Projects MACO Art Fair, Mexico City, Mexico with Samson Projects 2005 Le Désert de Retz, Massimo Audiello, New York, New York, curated by David Hunt Alona Kagan Gallery, From the Root to the Fruit, New York, New York, curated by David Hunt Out
of Bounds, Wave Hill, Glyndor Gallery, Bronx, New York, curated by Jennifer McGregor Evolving Pattern, New Jersey State University, Jersey City, New Jersey, organized by Midori Yoshimoto Play, Iandor Fine Arts, Newark, New Jersey, curated by Jomo Jelani Heywood Artists Alliance AIR Exhibition, Cuchifritos Gallery, New York, New York 2004 The Urge That Binds, Samson Projects, Boston, Massachusetts Jersey City Museum, Jersey (New), Jersey City, New Jersey, curated by Dr. Rocio Aranda New American Talent, The Jones Art Center for Contemporary Art, Austin, Texas, selection by Jerry Saltz The Space
Between Words, Kean University, Union, New Jersey, curated by Judith Page Timeless / Timeliness, Aljira Center for Contemporary Art, Newark, New Jersey, curated by Dominique Nahas Super Salon, Samson Projects, Boston, Massachusetts, curated by Camilo Alvarez
Quoting an interview with writer John Gardner from the 1970s, The Paris Review has sparked a discussion about artists» roles as leaders and public intellectuals: «I think that the difference right now
between good art and bad art is that the
good artists are the people who are, in one way or another, creating, out
of deep and honest concern, a
vision of life in the twentieth century that is worth pursuing.
If you were diagnosed after age 40, your type 1 diabetes is
well controlled, and you are following your doctor's recommendations, as
well as not having other complications from diabetes, like loss
of vision, kidney disease, nervous system disease or amputations you should be able to get approved for coverage with a few high quality
life insurance companies at a table rating
of between 4 - 8.
Other studies demonstrating the moderating role
of marital quality in the face
of a diverse set
of stressors experienced in late
life (e.g., Bookwala, 2005; Bookwala & Franks, 2005; Tower & Kasl, 1995) further strengthen the rationale for treating the spousal relationship as a moderator in the
well - established link
between vision impairment and quality
of life in late adulthood.