Beautiful permission-giving inspiration!

Check out the details to get involved on any scale that fits for you, right here at: Inside Out

I have never felt so finally identified until seeing two projects today of this scale and magnitude by just one person (at least out in front)!

I am looking for this kind support in the world! Who wants to help me be an Inside Out Artist in this world?!

*Leave your comments and contact info here!♡Thanks

Who Are you? Who? Who? Who? Who? I REALLY want to know?

In my newest incarnation at a local museum, I am absolutely struggling to learn the art of telling people, primarily children, what looking at art is!

That the value of a person's own eyes (consciously) looking at what is called art, is a valuable act. Actively building on looking together, through facilitating each person speaking about what and how each one sees, in an organized, non-judgmental and encouraging manner, so as to empower the act of looking differently through shared conversation, what and how each person sees. Thereby, taking ownership of the art and the experience of looking_ together.

For example the current feature exhibit, outside of the many permanent, residency and visiting exhibits available to see at the museum_ is work of contemporary photographer, Chris Jordan. The exhibit of his work is titled: Running the Numbers.

*Watch the TED video of Chris' talk about why he does his photography, and notice non-judgmentally how you respond. Then, share it with friends and see how you all do!



I thought titling this post after the Who was appropriate. After all in light of this exhibit's message and mirror, who are we_ each one?!!



Then, some partial answers provoked by this particular exhibit's invitation to see deeply into one's own self, and one's own subsequent (lifelong) choices (in some cases), as documented and mirrored back to us by Chris Jordan's photography_ may for some, be found in these quotes that have recently crossed my own radar:

“I've come to think of Europe as a hardcover book, America as the paperback version.”

_ Don Delillo

“Love does truly come to those who still hope although they've been disappointed_ to those who still believe although they’ve been betrayed, to those who still choose to love

although they’ve been hurt before, and to those who have the courage to build trust again.” _ Paraphrased from Anonymous, posted to the Internet

Rediscovering Outstanding Women Pop Artists

*The following article as posted on artdaily.org

Christa Dichgans, Stilleben mit Frosch, 1969 © Christa Dichgans, Privatsammlung, Berlin.

VIENNA.- Rediscovering outstanding women Pop artists, POWER UP fulfills Dorothy Iannone’s combative promise after fifty years. Currently on display until March 6, 2011 at Kunsthalle wien, the show aims at the reinterpretation of an art movement that until today has primarily been associated with male protagonists. Plastic, loud colors, reduced forms, and graphic contours – the nine women artists’ works on display resemble those of their male colleagues in many respects.

Whereas their works appeal to the taste of the masses, these artists, as pioneers of Feminism, have remained belligerent and critical. They reveal the consumer culture’s superficiality, exposing the commodity myth as an empty shell like Christa Dichgans, ironically transforming everyday objects to oversized kitsch objects like Jann Haworth, or exploring mass media clichés and superstar constructions like Rosalyn Drexler. Like Sister Corita, a committed peace activist, they took a clear stand on the sixties’ social and political events such as the Vietnam War.

The exhibition pursues its political perspective in those instances where the era’s current notions of what a woman is are revised by different views: Kiki Kogelnik and Marisol describe the corset in which the representation of women by themselves and by others is caught, while Evelyne Axell or Dorothy Iannone provocatively display the nude body, love, and sexuality, and, like Niki de Saint Phalle, attract the viewer’s attention with sophisticated modes of self-presentation.

The next great moment in history is ours! - Dorothy Iannone

“We choose to LOOK at LIFE all the TIME, and though we realize that they are in one sense adult comic books, they are also full of things that speak…“ For Sister Corita, the world of signs, advertising slogans, and the culture of logos was not just some vast wasteland, but a sphere that supplied her with input for an art nourished by everyday life. Her work, like that of Evelyne Axell, Christa Dichgans, Rosalyn Drechsler, Jann Haworth, Dorothy Iannone, Kiki Kogelnik, Marisol, and Niki de Saint Phalle, stands for feminine strategies of artistic self empowerment during the Pop Art era, particularly in the 1960s. While from an art historical point of view Pop Art is mainly associated with male protagonists, POWER UP – Female Pop Art intends to undertake a revision of this understanding through the presentation of outstanding women artists’ positions.

Oscillating between abstraction and figuration, commodity cult and critique of capitalism, high and low art, the women artists’ works on display in many aspects resemble those by their male colleagues in terms of material, subject matter, style, and working method. Documenting and hypostatizing the prosperity of the postwar era and reflecting upon the superficiality of consumerism, the artists unmask the commodity myth as an empty civilizational achievement like Christa Dichgans or affirm certain items by turning them into oversized kitsch objects like Jann Haworth with her Soft Sculptures. Through the graphic character of their simple language of forms, their use of new materials like plastic, and their choice of garish colors, women pop artists, as feminist pioneers attracting maximum attention with their self presentations like Evelyne Axell, Niki de Saint Phalle, and Kiki Kogelnik, satisfied the taste of the mass and yet remained militant, critical, and exceptional. The exhibition does not postulate some genuinely feminine art, but strives to focus on a number of outstanding women artists’ oeuvres in the field of Pop Art and to shed light on their identity creating practice and their view of women’s role in society which was very much determined by patriarchal notions in the 1960s.

These artists’ approaches have revised the male regime of viewing and such representations of women as Tom Wesselmann’s deindividualized matrices of the female body, Mel Ramos’s picturesque fusion of advertisements with lasciviously rendered nudes featuring as objects of desire, and Allen Jones’s sadomasochistically arranged female sexual companions. Instead, they describe the corset in which women’s self representation and representation by others seemed to be caught in those years like Jann Haworth, Kiki Kogelnik, and Marisol, highlight the attempt to shake off the fetters of domestic life and become visible in public by means of art like Christa Dichgans, and provocatively expose the female body, love, and sexuality like Evelyne Axell and Dorothy Iannone. Painting over newspapers in an iconoclastic gesture, Rosalyn Drexler explores the creation of clichés and gender typifications in Hollywood films as well as the construction of superstars. Open toward the popular culture surrounding her, Sister Corita, in an early act of culture jamming, relied on advertising propaganda for creating new messages which were democratically and serigraphically produced and sold at a low price. Her works, like Kiki Kogelnik’s, Marisol’s, or Niki de Saint Phalle’s, comprise critical commentaries on contemporary events and political contexts such as the Vietnam War.

The ladies of the “Les Années" present strategies of self empowerment, celebrate female sexuality and lust, draw on pin ups, excerpts from consumer culture, and fragments of an occasionally very banal everyday world in a bad girl manner, comment upon social changes, and translate personal issues into political ones in their clearly autobiographically tinted oeuvres. Their proto feminist works counter the affective death of classical Pop Art and its cool and anonymous style. By also employing a traditional female language of forms, using textiles and ornamental elements, and relying on a naïve imagery, their approach idiosyncratically extends the established canon of art. What they share with this style is the humor and lightness of an attitude toward life whose facets and variations are still unfolding in today’s art.



Kunsthalle wien | Dorothy Iannone | POWER UP | Christa Dichgans | Vienna |

Helping a new friend Get Out The Word:

Let’s make art together…
posted: November 24th, 2010 by Luna


…while exploring our relationship with money!

I’m writing a book called Wild Money: A Right-Brained, Knock-Your-Socks-Off Approach to Loving Your Relationship with Money (working title).
After looking high and low for books on personal finance written for non-linear creative people, I finally realized I’d have to do it myself. I want to create a book filled with the artwork of “creatives” from around the world.

Want to play?

Anyone can participate. There is no prerequisite other than desire. I envision a community sharing our insights and attitudes; histories and dreams of how money has woven through our lives; tales of helping, healing, hurting, reconnecting, disconnecting, saving, destroying and otherwise wildly impacting our tender, brilliant, expressive selves.

I have a short time frame for this project, so I’ll need all artwork by Dec 15, 2010. If you are willing and able to share your art (and maybe some writing if you’re so inclined), please click here for more information.

I’ve only just begun to explore the vast communities on the web and need some help linking-in. So I’d appreciate you passing this on to as many people, lists, groups and social media feeds as possible.

Thank you in advance!

Luna Jaffe, CFP

Lunaria Financial, LTD

7837 SW Capitol Highway, Portland, OR 97219

503-452-7000

Securities offered through KMS Financial Services, Inc.



*This is a post to assist a new acquaintance get the word out on a project that sounds truly inspired; she has also come onto my radar via a reputable mutual acquaintance. Check out the links, roll the idea around in your head/heart & check out the details for yourself. I have already gotten on-board!

New Project

(Quel réactionism!) *Artist David Black conducts a workshop on Tunisian collaborative painting with League students and artists:


I am beginning a new curatorial project focusing on the collaborative nature of art-making. Hmmmmm, more details to follow in the months to come. Do stay tuned!


(A collaborative work, I co-created some years ago; "An Ode to Gaugin"!)

My artwork presenting at Pegasus Gallery

My artwork is on view at PEGASUS FRAME STUDIO & GALLERY, 341 SW Second Street in Corvallis, OR 97333
As is the intrique of the Drebing Collection, all featured amid the dense collection of true artistic talent in the Mid-Willamette Valley, in this hometown holiday reception tonight from 6 to 9pm. *Come downtown to join us in a delightful fall evening celebration of the local arts.

Hometown Holiday Season: Drebing Collection Reception Tonight

"Nearly 30 years after his death, sculptor Earl Drebing is getting his first big show.

Titled “She Brought Us His Gifts,” the exhibition will run through December at Pegasus Gallery, 361 S.W. Second St. The gallery will host a reception from 5 to 9 p.m. Thursday, November 18, 2010.

The show features more than two dozen finished sculptures and a number of fragments.

Drebing, a self-taught California artist who died in 1983, never had a major showing of his work during his lifetime. His sculptures went into storage after his death and only resurfaced in 2009, when his stepdaughter, Corvallis-area resident Jewels Drebing, brought some samples of his work to Pegasus.

Many of the works are highly realistic masks or heads executed from plaster life masks. What makes them unique is Drebing’s artistic process, which he developed himself.

Using the plaster masks as a framework, Drebing would overlay them with a mixture of wood shavings and airplane glue to create the finished sculptures, many of which have large, elaborate bases of carved or inlaid wood.

Drebing’s work was the subject of a lengthy article in the July 18 Gazette-Times and a subsequent documentary film that has aired several times on Channel 29, the Corvallis public-access cable channel. The film will air several times this month, with showings at 2 p.m. today, 2 and 9:30 p.m. Thursday, 10:30 a.m. Saturday, 10:30 a.m. Sunday, and 12:30 and 5:30 p.m. Monday." *This article was originally printed in the GT/Corvallis, OR, Tuesday, November 16, 2010


Bill Shumway, artist & co-owner Pegasus Gallery