#roanoke virginia painters

[parmerandsons]

Expert Guide: Essential Tips for Selecting Superior Commercial and Residential Painting Services

Deciding on an extremely good painting service is important to getting a wonderful and lengthy-lasting impact. The secret to improving the appearance of your property is to make an informed selection, whether you're remodeling a company or a home. These are important things to think about while selecting the ideal painting service for your requirements.

Source By: Freepik

Evaluating experience and knowledge

Comparing the competence and expertise of a portrayal service company is one of the most essential considerations. A nicely-installed business with a robust portfolio most likely has skilled employees who have developed over the years to produce better work.

We are trying to find out painters with loads of experience operating on residential and business initiatives; this could display that they can control unique sorts of houses and paint finishes. Discover about the history of the business, the kinds of initiatives it has worked on, and if it employs any strategies. Checking Licenses and Credentials

It's important to confirm a painting service's credentials and licensing before hiring them for commercial and residential painting projects. To ensure they adhere to industry standards and procedures, professional painters should possess the licenses required by local laws. It's also crucial to verify their insurance coverage.

Insurance protects you from legal liability if any accidents related to the project cause injuries or damage. To avoid unexpected issues, request to see documentation of both their insurance and licenses. Assessing the Caliber of Materials and Methods

The longevity and aesthetics of the completed project can be strongly impacted by the caliber of the painter and the materials and methods they employ. Reputable painters must utilize premium paints and supplies that provide superior durability and coverage. Inquire about the paint brands they use and whether they have low-VOC or eco-friendly solutions available, particularly if you have any health or environmental concerns. Inquire about their application methods as well to be sure they adhere to industry standards for a uniform and flawless finish. Looking for testimonials and recommendations from clients

Locating references from preceding clients and browsing online evaluations can offer crucial data about the dependability and effectiveness of a painting enterprise. Ask the commercial enterprise for a list of its most recent clients, then get in contact with them to learn about their reports.

A more complete understanding of the corporation's popularity can also be acquired from online reviews on websites like Google, Yelp, or Houzz. Keep an eye out for repeating topics inside the evaluations, like customer service, quality of labor, and punctuality. Contrasting in-depth written estimates

Understanding the scope of work and preventing unforeseen expenditures require a thorough written estimate. Get quotes from many painting companies, and make sure the estimates include a detailed breakdown of the materials, labor, and any other costs. Significantly low estimates should be avoided since they might point to inferior materials or unstated expenses. An accurate estimate will clearly outline the work that has to be done, the kinds of paint and materials that will be needed, and when the project is expected to be finished. Evaluating Professionalism and Communication

Professionalism and effective communication are essential for any painting project to be successful. Examine the painting service's response time, willingness to resolve your concerns, and handling of requests. A reputable enterprise should be capable of answering any questions you could have, giving concise descriptions of their techniques, and providing common updates. Effective communication makes it much more likely that your wishes may be satisfied and that troubles will be resolved quickly. Recognizing warranties and aftercare

To address any potential problems that might develop after the project is over, a trustworthy painting business should provide a warranty on their work. With warranties, customers can be sure that the business stands behind their creations and will fix any flaws or issues. Find out what is covered by their guarantee, how long it lasts, and other specifics. To preserve the paint's quality and increase its longevity, find out what aftercare instructions are suggested.

Decision-making and final thoughts

Consider all the available data while making your decision so that you can select the painting service that most closely matches your requirements and expectations. Consider their background, qualifications, materials' quality, customer reviews, quotes, correspondence, and guarantee conditions. You can choose a painting service that will provide outstanding results and a fulfilling experience by carefully weighing these elements.

Making the Right Choice: Handling a Painting Project with

Success A careful assessment of many different aspects is necessary when choosing the best painting service to guarantee a satisfactory result. Making an educated choice that will result in a superior finish for your house may be achieved by evaluating the company's experience, credentials, materials, client feedback, and professionalism.

By giving these factors careful thought, you may improve the aesthetics and value of your area and create enduring beauty that will satisfy you. For example, "Parmer and Sons Painting" is a particularly good choice to think about because of their good customer reviews and wealth of experience.

[desertdollranch]

I am pleased to finally introduce to you Judith Blalock! 

Judith is twelve years old in 1587 when she, her parents, and her two brothers leave England and settle on Roanoke Island, at the time a part of the colony of Virginia. Life on the island is sometimes difficult, and many of the colonists are beginning to regret their decision to settle there. But Judith never expected everyone to suddenly leave without her one morning. She then must embark on a daring and fantastical adventure as she tries to reunite with her family and return home, wherever--and whenever--that may be.

Judith is my Create Your Own doll that I introduced on Monday. She is named after the ancient heroine who beheaded Holofernes. That event was a frequent subject of painters and sculptors from the medieval to the modern age, including the Baroque artist Artemisia Gentileschi. Judith is also the name of one of William Shakespeare’s two daughters. 

Her backstory is based on the very real mystery of the English colonists who disappeared from Roanoke Island in the 1580′s. Read it about it here or watch a video about it here. There’s no way to know for sure what happened to the colonists, although historians have a few ideas of what could have befallen them. 

Judith is wearing three period-appropriate gowns that I made for her using the Renaissance Side-Laced Kirtle pattern. These are by no means the only clothes she’ll be wearing; her story involves some time travel into the past, which gives me an excuse to sew her dresses from several different centuries prior to the 16th. I’ll talk more about her wardrobe in another post. 

[tigerstrikesasteroidnetwork]

GVL / Generously Entangled

Generously Entangled curated by matthew anthony batty November 5 - December 11 Opening Reception: Friday, November 5, 6-9 pm 4 Smith St, Greenville, SC

Tiger Strikes Asteroid Greenville (TSA GVL) is excited to announce their next exhibition, the fifth show in their new West Greenville gallery space. Generously Entangled brings together the work of Codi Maddox, Emmanuel Manu Opoku, Michelle Laxalt, and Jiha Moon. The show is curated and organized by TSA GVL member matthew anthony batty.

In the movement and passing of threads, complex structures can be formed– structures that draw forth ritual, the observable now, and evoke the future. Practices of mindfulness braid together materials of earth and matter, narrative and exchange, nuance and pigment. These practices and materials become embodiments Generously Entangled in image and object. This exhibition explores the intertwining practices of aesthetic hybridity, material culture, and reciprocity through the paintings of Codi Maddox, the assemblages of Emmanuel Manu Opoku, and the ceramic collaboration of Michelle Laxalt & Jiha Moon.

Codi Maddox is an Atlanta-born self-taught artist. Her work focuses on themes of nostalgia, and Black cultural markers. Codi Maddox begins her work seeking to find a sense of self and reconnect to her identity. She looks to art as a way to express the complexity of her life thus far in all its nuances. Joy, sadness, identity, and experiences. 

Emmanuel Manu Opoku was born and raised in Kumasi, Ghana. He holds M.F.A. in Sculpture from the University of Florida in Gainesville and B.F.A. in Painting from the Kwame Nkrumah University of Science and Technology in Kumasi, Ghana. He is a recipient of the James J. Rizzi Studio Award, Harold Garde Studio Art Award, College of the Art Dean's Award, and the Outstanding International Student Award. Emmanuel has participated in several exhibitions in Ghana and the United States. He currently lives in Gainesville, Fl.

Jiha Moon (b. 1973) is from DaeGu, Korea, and lives and works in Atlanta, GA. She received her MFA from the University of Iowa, Iowa City. Her works have been acquired by Asia Society, New York, NY, High Museum of Art, Atlanta, GA, The Mint Museum of Art, Charlotte, NC, Smithsonian Institute, Hirshhorn Museum and Sculpture Garden, Washington, DC, Weatherspoon Museum of Art, Greensboro, NC and The Virginia Museum of Fine Arts, Richmond, VA. She has had solo exhibitions at the Museum of Contemporary Art of Georgia, GA, Taubman Museum, Roanoke, VA, the Mint Museum of Art, Charlotte, NC, The Cheekwood Museum of Art, Nashville, TN and Rhodes College, Clough-Hanson Gallery, Memphis, TN and James Gallery of CUNY Graduate Center, New York, NY. She has been included in group shows at Kemper Museum, Kansas City, MI, the Fabric Workshop and Museum, Philadelphia, PA, the Atlanta Contemporary Art Center, Atlanta, GA, Asia Society, New York, NY, The Drawing Center, New York, NY, White Columns, New York, NY, Smith College Museum of Art, Northampton, MA, and the Weatherspoon Museum of Art, Greensboro, NC. She is a recipient of the Joan Mitchell Foundation's painter and sculptor’s award for 2011. Her mid-career survey exhibition, “Double Welcome: Most everyone’s mad here” organized by Halsey Institute of Contemporary Art and Taubman Museum has toured more than 10 museum venues around the country until 2018.

Michelle Laxalt is a multidisciplinary artist currently based in Atlanta, Georgia. She earned a BFA from the University of Nevada, Reno, and an MFA as a Welch Fellow from Georgia State University in Atlanta. Through ceramics, textiles, and other sculptural media, Laxalt addresses the vulnerability we as humans share with animals and other living beings. Laxalt has shown nationally and internationally in solo and group exhibitions. Notable venues include the Uşak Archeology Museum in Uşak, Turkey; the National Center for Contemporary Arts in Minsk, Belarus; Whitespace Gallery in Atlanta, GA; MINT Gallery in Atlanta, GA; and the Zuckerman Museum of Art in Kennesaw, GA. She has given artist talks at Gallery 72 and MINT Gallery in Atlanta and has participated on artist panels at the Holland Project Gallery (Nevada), Georgia Tech (Atlanta), and Auburn University (Alabama). She has completed artist residencies at the Vermont Studio Center (2016) and the Hambidge Center in North Georgia (2019). Laxalt was a 2019 MINT Leap Year Fellow and concluded her fellowship with her solo exhibition Husk. Upcoming group exhibitions in which Laxalt will exhibit include The Skull Show at Sheppard Contemporary (Reno, Nevada) and All In at the Holland Project Gallery (Reno, Nevada).

photos by Jessica Swank

[dinafbrownil]

As UVA Scales Back Lawsuits, Pain For Past Patients Persists

Kitt Klein and Mike Miller lost thousands of dollars in hard-won savings more than a decade ago after UVA Health put a lien on their home for a hospital bill they couldn’t pay.

They can’t believe they’re at risk of losing a second home today.

“Can they do this twice?” said Klein, who lives with her husband, a house painter, in her late mother’s house in Virginia’s Shenandoah Valley.

Special Reports

Investigation

'UVA Has Ruined Us': Health System Sues Thousands Of Patients, Seizing Paychecks And Claiming Homes

By Jay Hancock and Elizabeth Lucas Sep 10

Over six years, the state institution filed 36,000 lawsuits against patients seeking a total of more than $106 million in unpaid bills, a KHN analysis finds.

The couple was hit with a $129,133 court judgment in 2017 after UVA sued them and won in a case involving unpaid bills for out-of-network treatment of Miller’s lung cancer the year before, court documents show.

Last month, UVA said it would scale back such activity after a Kaiser Health News investigation found the medical system had filed 36,000 patient lawsuits for more than $100 million over six years, sending many families into hardship and bankruptcy. Its pursuit of former patients included putting thousands of liens on homes.

The prestigious medical system, affiliated with the University of Virginia in Charlottesville, said it is suspending current lawsuits, expanding financial assistance and even reconsidering old cases and applying aid retroactively. The new policies apply to people treated in July 2017 or later, according to Doug Lischke, UVA Health’s chief financial officer.

But that means people such as Miller, who received hundreds of thousands of dollars in financial assistance from his local hospital but not from UVA, won’t benefit from the changes. Thousands of former patients owing old bills, many with court judgments against them and wages being garnished or liens on their homes, will continue to suffer under the previous rules.

“There’s so many people that I’m talking to that are so relieved, saying thank God people are finally getting some justice,” said former patient Denise Nunez, 45.

But she’s still paying off a UVA bill of about $1,500 dating to 2014, legal papers show. It never came to her house because a clerk transposed the address number, she said. The new policies don’t stand to benefit her, either.

At the same time, patients treated more recently said they are struggling to obtain information on the changed rules and uncertain whether they’ll be helped. Unlike VCU Health in Richmond, which halted all routine patient lawsuits in the wake of KHN’s inquiry, UVA says it will continue to sue patients with incomes above a certain level.

It has also said repeatedly that changes announced last month are “a first step.”

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“It seems like they’re still sorting out details of exactly what their new policy looks like,” said Elaine Poon, managing attorney at the Legal Aid Justice Center in Charlottesville, which represents some lower-income UVA patients. “We want UVA to hold off — to suspend collections until they have a new policy.”

UVA has said little publicly about its new policies almost two months since it announced them, beyond posting a webpage referring to federal poverty guidelines and directing patients to a phone number with an intricate voice menu asking for a “guarantor account number.” Some patients said they didn’t understand what that means.

The website says nothing about reopening old cases for those already hit with garnished wages, court judgments or even UVA liens on their homes.

“I haven’t heard from UVA,” said Paul Baker, 41, a former yard maintenance worker who along with his wife owes the system more than $500,000 for treatment after a devastating truck accident in 2018.

Under the new rules, Baker’s stated income of about $24,000 might qualify him for relief.

UVA is updating its website and stocking clinics with cards in English and Spanish with contact information for patients having trouble with bills, said health system spokesman Eric Swensen. For patients meeting the new rules, it is halting or reversing the seizure of Virginia’s special tax refund of up to $220, being issued this fall, he said.

UVA has granted easier payment terms to hundreds of patients, stopped renewing wage garnishments for patients who qualify and suspended or dismissed more than 500 lawsuits since Sept. 12, Swensen said.

For now, however, that doesn’t help Robert Turkiewicz, who lost a case the day before, on Sept. 11, and faces a UVA judgment for $96,779 and attorney fees of $14,517, court documents show. Given his experience with the UVA billing office, he’s not sure it ever will.

A carpenter and construction worker who lives in Luray, Va., Turkiewicz, 44, accidentally shot himself in the leg a year ago while taking a pistol out of a truck to kill chickens. He and his wife make about $22,000 a year, he said. That’s well within UVA’s new income guidelines for erasing his entire bill.

Robert Turkiewicz, a carpenter and construction worker who lives in Luray, Va., and his wife make about $22,000 a year — well within UVA’s new income guidelines for erasing a bill. Yet Turkiewicz faces a UVA judgment for $96,779 and attorney fees of $14,517, court documents show.(Eze Amos for KHN)

But his stated income falls within UVA’s old guidelines for at least partial financial assistance ― and he never obtained it. A UVA billing clerk kept asking for copies of pay stubs that didn’t exist because he had been badly wounded and couldn’t work, he said.

“I knew I couldn’t afford it and I told them I couldn’t afford it,” he said. “And they said, ‘Well, you’ll get the charity care.’ And I never did get it.”

On paper, UVA’s amended policy makes it easier to qualify for financial assistance, awarding aid to families with incomes of up 400% of federal poverty guidelines, or about $100,000 for a family of four with less than $50,000 in assets, besides a home.

A family of four with income below about $50,000 would qualify for a full write-off under the new rules. UVA also has said it won’t usually sue families earning less than 400% of poverty guidelines, and will increase the discount off hospital list charges for all uninsured patients from 20% to at least 40%. It has said it will not refund money already collected.

The health system is appointing a “billing and collections advisory council” of medical and community leaders to consider further changes, leaving open the possibility it could increase discounts for the uninsured or reduce balances for people treated before the July 2017 cutoff.

The system’s collections policies have included canceling enrollment for University of Virginia students who owe medical bills. UVA has hinted it would reconsider this.

But “I’m still blocked,” said Nacy Sexton, whose UVA education was interrupted in 2014 by a hospital bill that he is still paying off. “UVA has not reached out to me.”

Even closed cases can leave families heavily indebted or stripped of savings.

“I paid every penny to them, but I still owe $25,000 to a friend of mine,” said Priti Chati, 51, who lives in Roanoke. UVA sued Chati, whose case KHN described in a previous story, for treatment of a brain tumor in 2011.

Those with old bills and legal judgments say they hope the advisory council will urge UVA to make the new policies effective further back than July 2017.

UVA is dunning money from Nunez for a five-year-old bill, taking $602 from her Virginia tax refund in April, a letter the state sent her shows.

Klein and Miller’s experience with big UVA Health bills began in the early 2000s after he hurt his wrist badly in a lawnmower accident. Multiple surgeries drove up the bills, which their daughter eventually paid with her money.

They deeded their house to her in 2012 for a few dollars to pay her back, Klein said, with UVA effectively taking their home equity. Then they moved into her mother’s house, built in the 1870s, near Quicksburg.

Since 2012, Miller has been fighting lung cancer and has tumors on his bladder and kidney. His insurance has paid more than $100,000 for treatment at Sentara RMH Medical Center in Harrisonburg, with the hospital awarding more than $400,000 in financial assistance based on his income, said Sentara spokesman Neil Mowbray.

But in 2016, doctors said he needed radiation therapy available only at UVA Health, which was out of network. The plan still paid UVA at least $64,000, insurance documents show. But UVA billed and sued the couple for $129,133. They’re paying $100 a month.

They make about $25,000 a year, said Klein, adding that UVA denied their previous financial assistance application. Their income is within the new UVA guidelines for patients to be considered for a full write-off of the bill.

But because the treatment was in 2016, before the July 2017 cutoff, she fears UVA will have a claim on her Quicksburg home, the one she grew up in, with her mother now buried nearby.

“I was furious,” she said. “Here we are going through this again, and this is our family homeplace. That’s all Mom wanted — she wanted it left with the family.”

from Updates By Dina https://khn.org/news/as-uva-scales-back-lawsuits-pain-for-past-patients-persists/

[chocolateheal]

27 Thoughts You Have As Abstract-expressionism Approaches | abstract-expressionism

JUDITH GODWIN | AN ACT OF FREEDOM OPENS AT BERRY CAMPBELL

ABSTRACT EXPRESSIONISM – – abstract-expressionism | abstract-expressionism

NEW YORK, NEW YORK, FEBRUARY 6, 2019—Berry Campbell Arcade is admiring to advertise an important exhibition of paintings by allegorical Abstruse Expressionist painter, Judith Godwin.  This celebrated exhibition is a analysis of twenty paintings, including several all-embracing examples from the 1950s originally apparent at the Betty Parsons Gallery. This exhibition is accompanied by a sixteen-page archive with an article accounting by Gwen Chanzit, Ph.D., Curator Emerita of Modern Art and Curator of Women of Abstruse Expressionism (2016) originated by the Denver Art Museum.  The exhibition will accessible with an artist’s accession on Friday, February 15, 2019 from 6 to 8 pm and continues through March 16, 2019.

From 1950, back she aboriginal apparent her assignment to the present, Godwin has captivated to her convictions, application a accent of abstruse anatomy to acknowledge with unbowed artlessness and affection to activity and nature. For Judith Godwin, painting “is an act of abandon and a ability that images generated by the changeable acquaintance can be a able and artistic announcement for all humanity.”[1] Through her studies with Hans Hofmann, her continued affiliation with Martha Graham and Graham’s alive ball movements, her accord in the aboriginal beginning of Abstruse Expressionism, and her adulation for Zen Buddhism and gardening, Godwin has artificial a claimed and different career path. 

Like abounding added women artists of her generation, Godwin accustomed beneath absorption in the mid- and backward twentieth aeon from the columnist and accessible than her macho counterparts. However, the abiding adroitness and ability of Godwin and added women of her time accept become more accustomed and accustomed behind consideration. Amid the contempo efforts at such amends was the June–September 2016 groundbreaking exhibition, Women of Abstruse Expressionism, captivated at the Denver Art Museum, curated by Gwen F. Chanzit, Ph.D. In the show, Godwin’s assignment is featured forth with that Perle Fine, Helen Frankenthaler, Grace Hartigan, Elaine de Kooning, Lee Krasner, Joan Mitchell, amid others.

Born in Suffolk, Virginia in 1930, Godwin enrolled in Mary Baldwin College in Staunton, Virginia in 1948. There, she met the acclaimed choreographer and dancer, Martha Graham, who was on bout at the time, and Graham anon encouraged her to move to New York. Settling in New York, she enrolled at the Art Students Alliance and began accessory Hofmann’s school. The move was adventuresome at the time for a adolescent woman from the South, but she bound acquainted at home. Her agents at the alliance were Will Barnet, Harry Sternberg, and Vaclav Vytlacil. Like abounding others who advised with Hofmann, Godwin acquired afflatus and conduct from his instruction. Hofmann’s account about the alive and spatial qualities of blush and his acutely mystical admiration for the act of painting fabricated a abysmal consequence on Godwin.

J.R. Mooney Galleries of Fine Art: Guus Kemp, a Painter's … – abstract-expressionism | abstract-expressionism

Through Hofmann, and while acquaintance the acclaimed Cedar Bar, Godwin associated with Jackson Pollock, James Brooks, Mark Rothko, Willem de Kooning, Marcel Duchamp, and Kenzo Okada. Godwin additionally became fatigued to Zen Buddhism in the 1950s, through her acquaintance Okada.

Toward the end of the 1950s Godwin developed a harsher, rougher facture. She recalls that at the time “if you were a [woman] painter . . . you had to acrylic as strongly, as berserk as the men did.”[2] By the backward 1950s, Godwin’s assignment began to accept attention. She was included in the countdown exhibition at Betty Parsons’s Section Eleven Arcade in 1957, forth with David Budd, Agnes Martin, and Sidney Wolfson. In the afterward year, she alternate in the Stable Arcade Invitational Show, to which she was arrive by James Brooks. She was one of few women to display in the Stable Arcade shows.  In February 1959 and afresh in 1960, Godwin had abandoned exhibitions at Betty Parson’s Section Eleven.

In the 1970s, her paintings acquired complication and force, while advancement painterly spontaneity. In the 1980s Godwin brought a new sensuousness into her paintings, employing delicate colors and accumulation adorning motifs.  In the 1990s she continued her assignment in yet addition administration back she began creating assemblages. Integrating abstracts begin in her studio— including pennies, beads, hacksaw blades, sections of copse veneer, ribbons, gold leaf, all-inclusive wool—into unified compositions, she bankrupt from modernism’s affirmation on transparency, delving into “postmodern notions of character and gender.”[3]

Godwin is represented in over thirty important accessible collections throughout the country, including the Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; McNay Art Museum; the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Museum of Art, Osaka, Japan; National Museum of Wales, Cardiff, South Wales; National Museum of Women in the Arts, Washington, D.C.; San Francisco Museum of Modern Art;; Virginia Museum of Fine Arts, Richmond; and Yale University Art Gallery, New Haven, Connecticut, amid abounding others.

Abstract Expressionist Collages (Tuesdays and Thursdays) | VisArts – abstract-expressionism | abstract-expressionism

Berry Campbell continues to ample an important gap in the city art world, showcasing the assignment of arresting and mid-career artists. The owners, Christine Berry and Martha Campbell, allotment a curatorial eyes of bringing new absorption to the works of a alternative of postwar and abreast artists and absolute how these artists accept avant-garde account and acquaint in able and new directions.  Added artists and estates represented by the arcade are Edward Avedisian, Walter Darby Bannard, Stanley Boxer, Eric Dever, Perle Fine, Judith Godwin, John Goodyear, Balcomb Greene, Gertrude Greene, Ken Greenleaf, Raymond Hendler, Jill Nathanson, John Opper, Stephen Pace, Charlotte Park, William Perehudoff, Ann Purcell, Jon Schueler, Albert Stadler, Mike Solomon, Syd Solomon, Susan Vecsey, James Walsh, Joyce Weinstein, and Larry Zox.

Berry Campbell Arcade is amid in the affection of the Chelsea Arts District at 530 West 24th Street, Ground Floor, New York, NY 10011. www.berrycampbell.com.  For information, amuse contact Christine Berry or Martha Campbell at 212.924.2178 or info@berrycampbell.com.

Lisa N. Peters, Ph.D.

[1] Statement fabricated for Celebration of Women in the Arts (Northern Michigan University, 1978).

abstract expressionist paintings – View All Famous … – abstract-expressionism | abstract-expressionism

[2] Godwin, interview, with Ann Gibson, New York, cited in Ann Gibson, Judith Godwin: Style and Grace, exh. cat. (Roanoke, VA: Art Museum of Western Virginia), 18.

[3] Lowery Stokes Sims, “Judith Godwin: Objectified Gesture,” in Lowery Stokes Sims and David Ebony, Judith Godwin: Paintings 1954–2002 (New York: Spanierman Modern, 2010), p. 5.

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[theothersidepress]

Understanding the Distinct Types of Spirit Art Guided by Spirit Control

http://ift.tt/29FNqjn

It is certainly the Age of Aquarius! Everyone is interested in the psychic, aren’t they?

Nowadays, we find everyone is “a weekend medium/psychic/healer” after completing one perfect course online or at an event or workshop. And often we see, sadly, online writers, commenters and so-called “professional intuitive’s” (especially the freshly minted ones!) who know loads more than many of the experts who have spent years researching and developing themselves on the spiritual matter/phenomena being discussed. It is frustrating and scary to think of the harm these “sudden experts” can do to the image of the profession of spirit work. They may also negatively affect the historical and scientific facts within the macrocosm of Metaphysics, Spiritualism, and Spiritism worldwide. We have seen the damage that is in progress by so-called “scientist of the paranormal” eager to discredit and ruin reputations of legitimate psychics and mediums worldwide – for the purpose of being known as a “professional”.

Proper Spiritualist Terminology

And so I believe it is of utmost importance for us to all understand the proper terminology and explanations for the various phenomena we can experience with the world of Spirit around us.

In this article, I have chosen to focus on the field of Spirit Art and its spiritual manifestations in this third dimension of life. When it comes to the phenomena of spiritual art and writing, we see so many now who use the terminology incorrectly due to their lack of proper education (and general “spiritual laziness” to be honest) to take the necessary time to research proper terminology. Let’s look at the terminology we have used in both the past and the present for the many varied Gifts of the Spirit (Bible, 1st Corinthians 12) being expressed across this planet:

∞ Inspirational Art (conscious) ∞ Automatic Art (conscious & an effect of mediumship) ∞ Painting Mediums (entranced) ∞ Direct Art (an effect of mediumship) ∞ Precipitated Art (an effect of mediumship)

Inspirational Art – Many are aware of intuitive (psychic) artists who draw, paint or write through inspiration. The inspiration comes into the intuitive’s mind whereby the conscious artist is impressed to create something via their hands, even their feet. Psychic art tends to be inspirational. Mediums that draw or paint personalities from the spirit world fall into this category. The words “psychic and spirit artist” seem to be commonly used for such works.

Automatic Art – As we continue with conscious artists as an important factor in said phenomena, we find automatic art as a type of mediumship whereby spirit personalities control the artist’s limbs (hands and/or feet) “through the ethers” by directly controlling the limbs through an external unknown force. Using an internal force, spirit personalities can also harmonize with the mind and central nervous system of the artist to control their nervous system which moves the hand without the conscious influence of said artist. Mediums of note exhibiting automatic art (also known as Psychography) were Chico Xavier (Brazil) and Helen Smith (France). Please know that both were generally known as automatic writers with occasional automatic drawings of beauty.

Painting Mediums – Many have surely heard of entranced mediums painting in styles eerily familiar to the great master’s painters (ie. Picasso, Monet, etc.) These mediums are generally in an altered state (entranced) so they are not conscious of what’s being painted or spoken to an audience through themselves. Spirit personalities merge succinctly with the artist achieving entrancement whereby the Spirit has full control of all bodily faculties necessary for painting. Brazil is rich with the Spiritist history of such mediums working even today. Mediums of note who exhibited painting mediumship were: Luiz Gasparetto (Brazil), Jose Medrado (Brazil), Valdelice DaSilva Salum (Brazil) and David Duguid (Scottland).

Direct Art – Process whereby Spirit uses several forces including those from the medium to materialize “pseudopodia limb(s)” necessary for maneuvering the coloring and writing instruments. Many believe incorrectly that such painting and writing phenomena occurred predominately since Spiritualism began less than 200 yrs ago. Theologians and historians have noted such examples going back two thousand years. When one reads, for example, the Biblical Babylonian account of King Belshazzar’s temple being visited by a materialized, disembodied “floating hand” which “wrote upon the wall” the King’s demise to come (Daniel, chapter 5).

Here we have a materialized hand appear independent of any physical person. The hand intelligently rights in a “strange and foreign tongue” upon the wall. This is an example of direct art whereby spirit causes unknown forces to act upon tools such as paint brushes to create art and writing. One medium of note to have documented accounts of such was David Duguid (Scottland). An exceptional book on the subject: Bennett, Edward T. (1908). The Direct Phenomena of Spiritualism: Speaking, Writing, Drawing, Music, & Painting: A Study. William Rider & Son.

My question for Spirit on this phenomena would be – where did the pigment come from for suddenly writing? Think precipitation one must conclude!

Precipitated Art – A curious word is “precipitated.” It means a substance caused to be deposited from a solution. Snow, rain, fog – even ash, are examples. Most recall the precipitated painting stories of the Bangs Sisters and the Campbell Brothers (actually gay partners in unforgiving times.)

Some may recall the holy faces of Christianity’s Byzantine period, Acheiropoieta, “made not by human hands” (ie. the Veil of Veronica.) Holy images precipitated onto cloth through intelligent spirit control.

And yet many have heard little of David Duguid of Glasgow, Scotland (1832-1907). He was a physical medium known for automatic, direct and even precipitated art. In his later years, his precipitated paintings were no larger than 2 inches by 2 inches (5cm x 5cm) produced between his clasp hands while the sitter held the tiny torn off corner of their card being developed so as to remove potentials of fraud. The Arthur Findlay College’s Museum (England), on its second floor, holds and displays occasionally up to three owned Duguid precipitated cards with their tiny torn corners sitting beside them. I have seen such artifacts first hand on my past visits there.

In the United States, we have some awareness in the minds of those following Spiritualism and Metaphysics of precipitated art as a possibility. While I personally know of less than a dozen U.S. mediums in various stages of precipitation development, there is truly only one man at the forefront of this craft – Rev. Hoyt Z. Robinette (Camp Chesterfield, Indiana). He is publicly demonstrating at present and travels around the U.S. part of the year to share this highly evidential ability. His precipitated spirit cards are breathtaking and infused with vibrant and rich colors. Once you have seen one, you will never forget them.

An interesting side note I’m excited to share is that due to my extensive knowledge and passionate experiences with precipitation over these years, Spirit told me two years ago in a séance I’d be helping a lady in England. Sure enough, on an Autumn trip (2015) to the Cobber Hill Retreat Center near Scarborough, England to experience the remarkable, yet humble, Stuart Alexander – I met a “little dove” so eager to hear about my fascination with precipitated art and to witness the small collection of such artifacts I had brought along to share with others. This lovely lady was Sandy Ingham (UK), a spirit artist. I soon taught her all she needed to know to begin developing such ability and within a short time her efforts paid off with rudimentary precipitation upon blank index cards. Her guide, Leonardo da Vinci, pushed along her development away from the cards and towards her steady spiritual work drawing loved ones in Spirit for public audiences.

Leonardo soon began to manipulate the light’s qualities in the projected images (of her “real time” live drawings) upon the church walls. Evidential eye colors began to appear occasionally in the projected light images. For the last year, attendees receiving her black charcoal drawings (no color tools are used) found eyes coloring and/or skin coloring fused upon the drawing they had taken home – which was NOT there prior to departing the demonstration. In all honesty, this is incredibly remarkable as such as not occurred in Europe for some 150 plus years of documented mediumistic phenomena. Sandy and Leonardo are bringing forward new paradigms of highly evidential potential certain to infuse our Spiritualist and Metaphysical movement with much-needed spiritual possibilities.

“Gifts of the Spirit” are as varied as God’s flowers on the earth… And art is an outward expression of an inside state of being. Besides, who does not love art!? It stirs the soul and makes us joyful and happy. Art is the light emitted by the artist’s soul that truly nourishes us spiritually. If you have not considered adding art to your mediumistic tool belt, give it a try!

Who knows… “What Dreams May Come?”

  Author information

Kevin Lee

Rev. Kevin Lee is the Senior Minister of the Metaphysical Chapel of South Florida

( http://ift.tt/29FNn7d ), a chartered church with the United Metaphysical Churches (Roanoke. Virginia). He is dedicated to researching and sharing the metaphysical truths of the “Continuity of Life after the change called death”; of spirit communication and its various phenomenal forms; along with helping others to unfold their innate “Gifts of Spirit” as spoken of in the Bible. Rev. Lee was both Ordained as a Minister and certified as a Medium through UMC’s four year seminary program.

An avid researcher and experiencer, Rev. Lee has travelled extensively to witness first hand both traditional and exotic forms of Mediumship. In 2014, he began presenting his research: “Precipitation Mediumship: Aspects of Art as Spirit Communication.” Rev Lee is now presenting at various conferences and speaking engagements focused on Afterlife Communication, Mediumship and Research.

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[caveartfair]

This One-Man Art Factory Created His Own Market—One $5 Painting at a Time

Portrait of Steve Keene in his studio circa 1999. Courtesy of the artist.

What’s the difference between a painting, a poster, and a print? Where’s the dividing line between an original and an edition? For Steve Keene—a one-man art-making factory who resides in Brooklyn—those distinctions are simply academic. For over two decades, he’s been cranking out paintings (and earning a healthy living) by sticking to a prolific regimen, selling his creations via eBay, on college campuses, and during idiosyncratic exhibitions.

The mainstream art world got a jolt this spring at Marlborough Contemporary, where Keene had been commissioned to stage a month-long performative installation in its project space. The larger gallery was taken up with canvases by critic’s darling Anne Neukamp; prices, needless to say, were not publicly listed. But visitors who ventured into the back room area found Keene, diligently painting away on a stage that he had constructed himself, surrounded by dozens of acrylic works on panels and chunks of wood that he was selling for between $5 and $20 (cash only). Would-be collectors simply slipped their money into a large collection box.

Courtesy of Steve Keene and Malborough Contemporary.

A typical Keene composition is illustrative and barebones—somewhat slapdash, but with real feeling. “In some ways I’ve dumbed them down, and that’s a good thing,” Keene tells me. “My work is better because it’s simpler, just: dog, cat, tree, blue, red, yellow.” Many of his paintings are roughly the size of vinyl record sleeves, and often borrow from album art for their imagery. (Keene has also been commissioned by bands before, including Pavement, who tapped him for the cover of their 1995 album Wowee Zowee). Occasionally he’ll depict familiar landmarks—I have a Keenian rendering of Churchill Downs, the site of the Kentucky Derby, hanging in my kitchen—or Los Angeles landscapes. He’ll paint dozens of variations on the same composition, lining up blank wooden panels and methodically building them up one by one, element by element.

The artist got his start in Charlottesville, Virginia. There, in the early 1990s, Keene would carry bags of his paintings around to bars, selling them to a helpfully pre-lubricated audience. As a result, he reckons there are still “tens of thousands” of his compositions hanging around the college town—a kind of omnipresent interior decoration, whether or not casual viewers know who the “SK” is in each painting’s dashed-off signature.

An outdoor display of paintings by Steve Keene during Octoberfest in Berlin, 2000. Photo courtesy of the artist.

From there, he branched out into D.I.Y. e-commerce—he launched a website around 16 years ago, he says—and also staged exhibitions and sold paintings on college campuses and at university-run galleries. Not everyone understood what he was doing. Keene got flack after one show at Moore College of Art & Design in Philadelphia from some faculty members who thought it was “a stunt, not a serious art activity,” he recalls.

Their confusion is perhaps slightly warranted. Marlborough Contemporary, Keene says, indeed hired him as a kind of performance artist, not a painter. “When I paint 100 pictures in one day—that’s one piece, in my mind,” Keene explains, even if they all end up in different homes. He off-handedly likens his compositions to the “goofy, tradable” picture cards that used to come inside packs of bubblegum.

Audiences get a kick out of watching him paint, he says, because the “physical action is like watching tennis on TV.” And the artist—who worked for years as a dishwasher—often returns to service-industry metaphors to describe his practice. “It’s almost like I’m creating a restaurant system,” he says. “I constantly compare it to food: I’m making 24 pies at a time.”    

Work by Steve Keene. Courtesy of the artist.

Whereas one might expect Keene’s studio to be a hoarder’s den, stuffed to the rafters with endless piles of paintings, he’s ultimately business-minded: Most everything he makes is sold. His Williamsburg, Brooklyn home and studio are both located in a building he bought decades ago, before the neighborhood became the face of gentrification in the borough. The work area up front closely resembles the auto garage it once was, with a CNC router that he’s using to make a newer series of etched-wood works. There’s a hundred or more paintings arrayed together, but they’re all waiting to be sent off to an upcoming show at Roanoke College in Virginia.

It’s absurd to compare Keene’s market to that of the traditional art world, since his abides by its own rules. Whereas he admits that his smallest paintings could certainly sell for $20 each, rather than $5, that would eliminate an important phenomenon: “If they’re $5, then people buy four,” he says, “and spend half an hour trying to see which look good together. They’re creating one work of art by getting four pieces—they’re completing the narrative.”

Courtesy of Steve Keene and Malborough Contemporary.

Buying habits also follow geographic and situational trends. Online, he’s noticed that “little micro-obsessions with me crop up, that might last for six months or so.” In general, though, he says that half of his output ends up shipping to California. At the Marlborough Contemporary exhibition, he sold around 1,500 paintings over the course of the month. Unlike college shows—where buyers would arrive with their cars, ready to pack “armloads of paintings” into the back of an omnipresent Volvo stationwagon—New Yorkers were more discerning by necessity. “They’d spend an hour deciding which small one to take,” Keene says. “It’s not that they didn’t want 10—it’s that they’d have to carry them.”  

This might all sound slightly crass—painting as product-making—but Keene has found aesthetic reward in a practice that can be as rigidly structured as anyone else’s nine-to-five. “I physically enjoy painting,” he says. “It’s my diary, my response to the day. It doesn’t feel like I’m making artwork—it feels like I’m involved in a process.”

“I like the idea of not particularly caring about the image,” Keene adds, “but what I can do with the image—how far I can push the ritual of artmaking in an extreme direction.”

—Scott Indrisek

from Artsy News

[char27martin]

Breaking In: Josh Barkan

Josh Barkan is the author of Mexico (January 24, 2017; Hogarth/Crown Books), a collection of short stories that capture the beauty, strangeness, and brutality of life in modern Mexico. He’s also published two other books: a novel, Blind Speed, and a collection of stories, Before Hiroshima. His writing has appeared in Esquire and as a contributor to The Boston Book Review. With his wife, a painter from Mexico, he divides his time between Mexico City and Roanoke, Virginia, where he teaches at the Jackson Center for Creative Writing at Hollins. He has taught writing at Harvard, Boston University, and New York University.

                    PRE-MEXICO: In manuscript form, Mexico was the runner-up for the Grace Paley Prize for Short Fiction, judged by Jaime Manrique and awarded by the Association of Writers & Writing Programs. It was the runner-up for the Juniper Prize for Fiction, judged by Edie Meidav and awarded by the University of Massachusetts Press/Amherst. The story “The Kidnapping,” from the collection, won the Lightship International Short Story Prize, judged by Tessa Hadley.

TIME FRAME: I wrote the stories—fairly quickly—over two summers. With the second half of the collection, I wrote the stories in the middle of the night, whereas I am usually a morning writer. I wanted to experiment with the flow that comes writing in the middle of the night.

ENTER THE AGENT: I noticed that Philip Spitzer represented Andre Dubus, a writer I admire a lot. So I sent Philip a query letter; he read the collection and wanted to represent my work.

[The real secret to getting an agent.]

BIGGEST SURPRISES: I was surprised at how inclusive and respectful the whole editorial, marketing, and graphic design team were at Hogarth. They invited me to give suggestions for the cover. They asked for my input with the design of the book. They always respected my final decisions on the text. Though part of a big publishing group—Penguin Random House—they run Hogarth like a literary boutique, with lots of attention to the author. The biggest learning experience is always the process of copyediting. It’s a bit of a tug of war, to preserve your voice, while doing the necessary editing to make sure everything is correct.

WHAT I DID RIGHT: Persistence. Not letting myself be defeated when the hundreds of rejection letters came, at different times. Slowly building up to a bigger press, by publishing two books with smaller, reputable presses, before. Applying for a grant from the National Endowment for the Arts, and receiving the grant. But mostly, making sure that I wrote only what I believed in—taking risks with form and content—and making sure that the writing was tight before sending it out. You have to really know that your work is ready before you send it out, so that you can withstand the rejections.

[Conquer your writing fears.]

WHAT I WOULD’VE DONE DIFFERENT: Maybe I experimented too much with form in my second book, Blind Speed. But at the time that felt necessary. I think I could have considered the marketability of the themes I was exploring, a bit more. It’s wonderful to write only what deeply interests you, but I think it took me too long to realize that there has to be a real audience for the subjects I want to explore.

PLATFORM: I build readership by giving readings wherever I can, communicating about my new book via Facebook, and developing my own website to give information to those who are curious about my work. I’ve attended some bigger gatherings of writers, like the AWP meetings, but not as frequently as I should. I also believe meeting other writers of quality—building genuine relationships with them—is the best way to develop readers, over the long run. Those writers help you to sustain a career teaching and getting grants, and most importantly, they keep reminding you why you started to write to begin with—to share ideas and observations that have some kind of imperative, a feeling of urgency. Without those things you can’t keep writing, and by extension you can’t develop your readership, over time. For most, I think readership is a slow development, so you have to find ways to simply keep writing professionally.

ADVICE FOR WRITERS: Keep your butt in the chair. Try to write a page every day. Small quantities add up. Get in the zone, by writing in the same place, preferably at the same time, so that you can tap into your subconscious, which is where the best details come from. Think about rhythm and the sound of your prose.

NEXT UP: I have the draft of a novel written set in New York City, which involves a mass shooting by an NYU student in Washington Square. The novel deals with everything from global warming, and secrets wanted by the FBI, to a character who used to be in the circus. It’s a very contemporary feeling novel.

Interested in reading about how other authors broke in? Every issue of Writer’s Digest features three debut authors, with advice on how they did it, what they learned, and why you can do it, too. The latest issue of Writer’s Digest is on sale now.

If you’re an agent looking to update your information or an author interested in contributing to the GLA blog or the next edition of the book, contact Cris Freese at cris.freese@fwmedia.com.

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