What ever have we done to our society where little dominions like these must be so greatly guarded against outside intruders and interlopers? Was it not thought of that the face we show to this visiting artist can be expressed to untold thousands via the internet? I doubt that, when the notion of the tacit permission of censoring art work that contains a tobacco farm, from a historically tobacco growing region is allowed to take precedence and exclude the offending work from display. So that means that what we are really seeing is not what is really created in the world of art, but propaganda of what they (whoever they are) want us to see as approved works. In the words of the modern day, “wow that sucks!”
Let’s move on from there, as founder of Ikohaus Avante-garde artists it’s just another part of the journey and I’m sure many artists have had to face as some try to protect their silly little world. It reminds me of a Jewish artist whose work I was astounded by with all little tiny people running around big industrial cities with little scooters on their buts at the Long Island University in the late 60’s. The artist whom I can’t remember happened to be standing right next to me while I was discussing his work with a friend, about why I had never seen such great work anywhere. That’s when he explained to me that he was a survivor of the German Nazi concentration camps of WWII and his art expressed where he thought society was headed, and that because of that he had been blackballed from showing such a negative image to what the Galleries of the day were looking for, so only the occasional University would give him a showing.
With all of that in mine I proceeded back to my studio and decided to stop where a local gas station was undergoing major expansive reconstruction and take some pictures and films for historical purposes of the time. So for your enjoyment uncensored through the power of independent Avante-garde artists using the internet as their museum here they are: