viefreelveconcats.gq/the-phoenix-project-a-novel.php Esta caixa: ver discutir. Seja Bem-vindo 3. Baboo 4. Obter 5. A Verdadeira Forma de um Cavalheiro. Jack 7. Seja Homem 8. Nada a Temer 9. Com a ajuda de Ginta, Jack os derrota e decide acompanhar o amigo em suas aventuras. Alviss Eu aposto Princesa Snow 1: Cachorro Dorminhoco. Princesa Snow 2: Garota dentro do Gelo Princesa Snow 3: Primeiro Contato Princesa Snow 5: O Outro Edward O grupo encontra Ed, um estranho cachorro que pede ajuda para salvar a Princesa Snow, filha do antido Rei de Lestava que foi aprisionada por sua maligna madrasta, Diana.
De repente, Ed dorme e seu corpo se transforma em Alan, antigo combatente do Cross Guard e que empatou com o cavaleiro Halloween nos Jogos de Guerra anteriores. Ficarei Forte Despertando o Poder 2: Insira, Por Favor Despertando o Poder 5: Sexto Sentido. Despertando o Poder 6: Despertar O Homem que Espera Ginta vs Ian Fim do Treinamento. Por sorte, o treinamento dos jovens acaba e Ginta aparece para vencer Ian mais uma vez. Atravessando o mar Nanashi Ao mesmo tempo, Ginta encontra o jovem Tom que o acompanha em sua busca.
Alviss vs Leno Jack vs Pano Ginta vs Garon 1 Ginta vs Garon 2. Pai Rainha Snow vs Fuhgi 1 Snow vs Fuhgi 2 Nanashi vs Loco. Na primeira rodada, Alviss derrota Leno facilmente, enquanto que Jack sofre uma derrota humilhante para Pano. Dorothy vs Maira 1 Dorothy vs Maira 2 Rolan O Homem que Chegou Atrasado Ed vs Ali Baba. Jack vs Pano Revanche 1 Jack vs Pano Revanche 2 Snow vs Mr. Hook Ginta vs Kanocchi 1 Ginta vs Kanocchi 2. De quebra, Pano fica apaixonada por ele.
Snow perde para Mr. Alviss vs Rolan 1 Alviss vs Rolan 2 Alviss vs Rolan 3 A loucura de Phantom De volta aos treinos Batalha contra as sombras. Alviss vs Mr. Hook 1 Hook 2 Jack vs Kolekkio 1. Alviss e Rolan se enfrentam em um duelo violento. Jack vs Kolekkio 2 Jack vs Kolekkio 3 Dorothy vs Avrute Nanashi vs Aqua 1 Nanashi vs Aqua 2 Desenho lU, Desenho IV, Buzio, Espirais, Rosto, Gravura em Metal Grotta Azzurra, Minas Gerais: Bandeira, As Minas, Os Gerais, As Minas e os Gerais I, As Minas e os Gerais lI, Fotografia e Espelho Artista pelo Meio, Reflexos triptico , Prende-Prende dor-Tempo.
Desenho Zona Crepuscular, Um Espermonauta da Paz, Num Ponto Qualquer, O Momento Crucial, Meta, Estandarte I, Estandarte 11, Estandarte m, Vinte de Junho de Onze de Abril de O Vento Solar, A Luz e o Tempo, Era Espacial, Jogo da Amarelinha I. Jogo da Amarelinha Femmes de Rbodopes, 3. Tisseuses, Nature Morte, Deux Visages, Souvenirs, Paysage de Yambolsko, Ponta Seca Sofia-Rue Stamboliiski.
Botev, Varna-Maison de Repos, Vienne, Collines 11, Femmes aux Champs I, Femmes aux Champs 11, Usine, Arbanassi, XIX, Le Guerrier Mourant, Arsanassi XIX, Litografia Le Chevalier Blanc, Clown, La Guerre, La Paix, Allafranca, Motifs De La Renaissance, Koukeri, No la originalidad enfermiza ni el mensaje.
Distintos son los medios. La obra de Tilak es alucinante por el camino deI budismo, de alli su pasividad ante el llanto. O la lluvia benefactora sobre los arroz ales de Ceylan. La mezcalina o el LSD son puertas abiertas a la locura sagrada. Las empresas multinacionales no ven la nesecidad de instalar organizaciones constructoras deI tan vapuleado sistema de vida occidental. Cuanto tiempo mas puede conservar un pais en nuestros dias su independencia cultural? Ij podrido que tiene la muerte de las libertades.
Mi cultura es rica, mas aun que la europea. Mi pais aun no es una vitrina paralizada para el turista. Yo me pregunto, cuanto tiempo le queda a Ceylan?
Tilak es Ceylan. Los perfiles. La tradicionalidad de sus obra no es pintoresquista, es trascendente, eS verdadera y conserva con valentia la identidad de su pueblo no como un cadaver adornado, si como una forma de vida. La obra de Tilak es egoista dentro de su universalidad. Soon after a mental exercise, we may keep. To revert to a lost intimacy among so much formal mannerism to give back people, once again, their belongings. Form has changed a thousand times, and has been found out from cbaos. Form lives into the creation changements.
Neither the sickly originality nor the message - nothing is more a messanger than the periodical murais of the cultuI'al revolution, than the posters representing the Campbell's soup tins, the witness of the American Watergate Life accident. We revert to consider once again the creation which has always been among uso I dil already know Tilak's work, far from Ceylon and from America.
Rome has been the land of the nothing and, in the beginning, it has been difficult to understand man, in his work which departs from the familiar monsters of the deep regions of intelligence, to see it joined to a something ill-looking beautiful of the meaning deformity, in the manner of Antonin Artaud, the frog-man of the brain. AlIucination is the state of grace for Christians and Buddhists as well. Initiation, in every case, establishes a total delivery.
Dr the useful rain on the rice-fields of Ceylon. Mescaline and LSD are open doors to the sacred folIy. The vision of a uniform God - c10sed and cruel, or else it may be a mermaid or a bird which, in its fIy, stirs the fire, approaching to the bonfire, burning from the coloured to the black f1ying blinded phoenix, stork scales, vegetal glue, curled foam, wings, waves, and at last - the eye which stare at the singing closed to the dream or to the pageant of the elephant of ceremony.
For western canons, people from Ceylon have little revenues "per capita", as they are considered an under-devel0Pe. That is to say,. National enterprises don't see the use of settling building firms in the manner of the so lashing western system of life - Ceylon is now living the same way Viet-Nam, Cambodja, Thayland have once lived, with their same purity, and once, while I was chatting with Tilak, he told me he would have liked Ceylon did not lose this purity.
The last example is given by poor Uruguay, with this frightful rotten smell, proper to liberty death. My culture is rich, more than the European one. I wonder how much time is left to Ceylon? Tilak is Ceylon. I mention again his trees, bis fool horses placed on a line.
The profiles, examining etemally themselves, becoming mortal and proper to the possessed ones, the initiated ones. The traditionalism of bis work is not picturesque. It is trascendent, it is true, and keeps with skilfullness its people identity, not as an adorned corpse, but as a form of life. In Tilak work one may sometimes perceive some aesthetical solution, quite near to Picasso, or Klee, or Tiffany, And by chance, don't we find Africa in Picasso work, East in Klee's and Egypt in Tiffany's?
Originality - or better, modernism, is a crutch to reach space. Tilak work is selfish in its universality. Pico de Pena Pescadores e Pescadoras I. Pescadores e Pescadoras Pescadores e Pescadoras IV. Pescadores e Pescadoras V. Pescadores e Pescadoras VI. Pescadores e Pescadoras VII. Pescadores e Pescadoras IX. Pescadores e Pescadoras X. Pescadores e Pescadoras XI. Pescadores e Pescadoras XII. Pescadores e Pescadoras XlV. Pescadores e Pescadoras XV.
Pescadores e Pescadoras XVI. Pescadores e Pescadoras XIX. Pescadores e Pescadoras XX.
Ce sont des personnages qui sortent du bahut des terribles souvenirs qui suivent les conjurations d'extraction magique. The CoaI Lady. Tratando de Subir. Ser o no Ser. La Espera. Pedazos de un Recuerdo. Mis Amigas. Preludio de Soledad n. Nostalgias que amarran. EI Frio de todos los Dias. Horas de Aburrimienta en un Verano. Madame Ivonone. Mata Hari. Mujer Semilla. Mujer Perla. Lola Montes. Mujer Luna 1. Mujer Luna 2. Ines de Suarez Afrodita. La Yuyito.
Paisaje Nube. Paisaje Creada. Paisaje Flecha. Paisaje Viento. Paisaje Inviemo. Paisaje Otono. Paisaje Indigo. Paisaje Malva. Paisaje EspaciaJ. Paisaje Mutilado. Paisaje Mangala. Paisaje Ontario. Paisaje Apurimana. Paisaje Galaxia. Paisaje Astral. Paisaje Flechas. Mi Padre. Mujer con Sombrero. Flora Vegetal. Flora Luminosa. Flor de Iquitos. Alturas Andinas. Capa Verde. Mural de la Selva. C'est un art apparemment simple. Elle est, sans doute, une rebelle sans scandale ni bruit.
C'est dans la maniere de voir les choses, et comme on donne les coups de pinceau. Casa de un poeta. EI pez espada. Desgranando arvejas. San Antonio. Casa de campo. EI puerto. Haciendo humitas. Casa de Pablo Neruda. EI Arbol. Cerros de lo Abarca. La Carreta. La casa de la higuera. Frutas y Flores. Trilla mi suegro. Casa de campo en Temuco. La trilla. EI nino enfermo. Las maravillas. Los Abejorros. La Mariposa. La lechera. Isla Negra. EI Humilde. Casa de campo en Isla Negra. Tela de la palmera y la iglesia. Camino de Isla Negra.
Entierro y Bautizo en EI Totora1. Parr6n de mi casa. La abuela hilando. Oferece aos artistas de todos os cantos do mundo urna preciosa oportunidade de aprender, encorajar e de estimular-se mutuamente. Intemational interfIow of arts is the most effective channel in developping fraternal friendship among human beings. Because, arts surpasses the rigidity of race and frontier, and eliminates the separation of distance and language difference.
Man's paramount object in pursuit of beauty enables them to feel homogeneity in the region of arts which stimulates the creative enthusiasm and promotes mutual understanding and sympathy among free peoples. Biennual International Arts Exhibition of st.
Paulo, Brazil is one of world's famous arts exhibitions having the aforesaid nobIe object. It offers artists from every corner of world a precious opportunity to leam, encourage and imitate each other. In the development of human culture or in the interflow and promotion ofart, this exhibition has its far-reaching magnificence and important dedication.
For 16 years, the Republic of China has participated S1.
Like other participating countries, our country is the fanatic, creator and appreciator of modem arts, and these recent year is also the growing process of Chinese modem arts from burgeoning, growing to fruiting. Intemational exhibition of our modem arts work mainfests and reveals the prevalence of free creation of our society and some characters of Chinese culture and spirit. Such characters under the impact of modem thought has fostered a new life out of old culture.
In the creation and development of Chinese modem arts, Chinese youth shalI take it as their own responsibility and play an influential role. The four young distinguished artists age.. They express a new spirit of modem Chinese culture, ar imagination and concept bursting out of free, unrestrained and open heart, and a presence stimulating from Chinese traditional philosophy. But each one has his own differentiated trait and passion, such as turbulence against serenity, contrast of white and black, interaction of substance and abstract, low and high, impetuosity and peace, separation and integrity and other philosophic findings which are the naturalism, mortalism and most intricate principIes of Chinese art philosophy and are the uni que composition of Chinese modem art.
In gripping,our traditionaol spirit and world's modem thought together, it is undoubtedly that Chinese youths will confront with formidable errand and unconquerable problems. Among the works of these four representing artists, we can peer that facing rooted and superior tradition and impetuous and sharp modemism they have done their best respectably to accept these two severe and double-faced ordeals. Although our country is now standing in a hard and challenging circustance, the insistence of democratic and free social system and living style nevertheIess is the most solid guaranty for the free creation and non-stopped growth of Chinese art.
And, prosperring economy and increasing cultural living also offer Chinese modem art a satisfactory environment to develop and to grow. The great dedication of Chinese art in human history will definitely encourage Chinese young artists to create more and work harder.
Paulo Biennual Art Exhibition, on the other hand, offers a very good chance for international art interflow, especially it offers stimuIus and impetus to China's incessant pursuit and development of modem art, and modem artists and people in free China will appreciate and admire it forever.
Landscape 2, Landscape 3, Landscape 4, Landscape 5, Landscape 6, Landscape 7, Landscape 8, Landscape 9, Landscape 10, K, Relevo-pintura ll. Counterpart, CoupIing, Day, Ying Yang, Hope, Joy, Serigrafia Life Cycle, New Hope, City of Yesterday, Dream Searching, Girl's Figures, The Twins'Life, The PIain of the East Atlantic, The Lost Memory, At Seashore, In the past few years artistic practice in Cyprus has greatly revived and expanded.
It is also due to the availability of a vast body of information through lhe mass media, which have made artistic isolation a thing of the pasto And, lastly, it is due to the increasing interest taken by the Cyprns government in artistic activity - an interest manifested in vaAndy Adamos has lived for a long time in South Mrica where he acquired his academic training.
He is a trained sculptor but engages himself in graphics as welI. In both media one is aware of the influence life and Art in Africa had on the formation of the artist and the way he renders his subject matter and plastic forms. His etchings and woodcuts have an unusual freshness and personal identity with which the artist unfolds a personal mythology. Michael Phoenikarides has arrived at this face of his creativity as a painter through a long period of print-making which has helped him enormously to clarify and simplify his style in painting. By using primary shapes, the square the circle and strong basic colours, he organises his pictorial' space methodical1y and firmly.
Serghis, Cultural Officer Ministry of Educationo. Ange1nose, Figures and Ladders, Man Fishing, Three Sitting Figures, Los tres, pertencientes a dos distintas generaciones - Roda es veinte anos mayor que sus colegas - se interesan fundamentalmente por el hombre. Un hombre introvertido, solo y denso, con una fuerte carga emocional evidenciada por medios plasticos propios de cada artista.
Los personajes de Roda conllevan un profundo contenido sicol6gico. El gesto controlado se appeta, se refuerza. Los dibujos apenas coloreados de Luis Caballero proponen un mundo selectivo, desde luego irreal y fragmentario, y, sin embargo, fascinante. Maria Elvira lriarte. Da chaotique sur lequel ils n'exercent, cependant pas, plus qu'un domam romantIque.
Litografias Asi Son los Heroes, n. Retrato de un Guerrero, Lapis. O 2, O 3, Retrato de un Desconocido, 3, Retrato de un Desconocido, 4, Retrato de un Desconocido, 5, Retrato de un Desconocido, 6, Retrato de un Desconocido, 7, Retrato de. Retrato de un Desconocido, 10, Retrato de un Desconocido, 12, Risa, 1, Risa, 3, Risa, 4, Risa, 5, Risa, 6, Risa, 7, Risa, 8, Delirio de la Monja Muerta, 1, Todavia, isso poderia significar falta de forte intelectualidade para controlar.
Os artistas deveriam recuperar sua subjetividade. Lee Se Duk. In my position production and living are ,both recognized as important. So it is hard for me to work only in genuine plastic arts. Regrettably I might not have the self-re! I do not agree to the treory that thorough feeling should make abstract work, beca use I be!
Therefore, it might mean that I have a lack of strong intelIectua! An image is not achieved by simple fancy or throught but it results from experience, with abundant images and the incessant pursuit of presentation to overcome the difficulty of production and expression, an artist will create excellent beauty in tre world. In the distress of inhumane reality, hoping and eager for humaneness, in other words, that the humaneness which we seek to recover will mean returning to human nature inherent in itself and the pure expression of inner life of the artist, with his effort.
Art is the result of ruman activity of inner! But it does not mean returning to nature, rather it means an unavoidable nostalgia for the wmld across the present surrounded by artificial, too thick, and inhumane waIls. Artists should recover thier subjectivity. I have always wondered whether it is possible to express one's emotion about "!
At that time abstractionism had already begun to appear. SiliCe then, irrespective of suffering from war in several Itimes, Korean fine arts have developed ceaselessly, and tried to supplement the short time and lack of experience. As an artist of Korea in modem times. I designated those artists whose works have been chosen to be exhibited. These works may develop their taIks respectively, but I and also artists will pay attention to what the results will be. Mandala Box 1, Mandala Box 2, Mandala Box 3, Take Cover 1, Take Cover 2, Take Cover 3, Cabeza de Vieja.
Frisos de los Observadores Observados. La Cruz. Cabeza Mosquito. Onix, Marfim, Ferro e Pedra. EI Hombre con Sombrero. Equipo "Testimonio deI Absurdo Diario". Pinturas e Desenhos 9.
Gonzales - Pinturas Los cuatro con amplia trayectoria y con calidades similares. The contemporary plastic arts of Ecuador is going through a period of search and confirmation of its values. The powerful influence of the socialist reaIism witb the so called Indigenous School which for almost three decades imposed its aesthetic dictatorship caused a traumatic condition to a great amount of painters who could very well have appeared for their own capabilities.
In , due to this situation. To liberate themselves from the prevailing formalism and try out new experiences in order to take positions which, in spite of the reaction from pseudo criticism, had been imDosing itself and confirming the goal of this rupture. Ecuador through its Cultural Organizations has selected four representative artists of this attitude so this way they could form its Delegation: Gilberto Almeida. The four artists with ample trajectorv and with similar qualities.
Con ellas hay que ejercitar un acto voluntario. EI espectador tiene que proceder para que su polivalencia se maniefieste. Tal el caso de los tapices-cortinas-esculturas de Aurelia Munoz o el cofre-escultura de Berrocal con dos juegos de cubiertos. Todo en la obra de Berrocal sorprende y admira, desde los intrincados planteamientos de algunas de sus piezas desmontables hasta sus soluciones, coherentes, beBas e irreprochables.
Aurelia Munoz hace tapices inusuales. Sus tejidos pueden a voluntad abrirse, cerrarse, agruparse, y ser cortina, muro, escultura o recinto. Si en sus seres de antes - hombres y mujeres amordazados y silenciosos -, el artista criticaba a una sociedad alienante. Sus personajes de hoy son marginados dementes, fugitivos, heridos de guerra. Obras para que de alguna manera todos podamos sentir de forma directa el prodigio de crear.
In the never ending world of art, beneath the extensiveness of its word, there is a place for alI the possibilities of the imagination on the sole condition o:l! There is a confortable art merely for contemplation. Another, supplies mathematical, geometrical and phylosophical elucidations. There is a so, an art to disturb, to denounce to subverto Does that end here? Is not an art of participation necessary in these days when the need to act in alI fieldS makes itself imperative7 Should one think of art as a finished product which is to be accepted or rejected?
One has to cross over the magic barrier between the artistic deed and the espectator and to participate in the art, manipulate it and use it. Schiller used to say that the essence of art was the game; and Huizinga that the spirit of the game with its specificrules created in opposition to the blind impulses; was the anticipator of culture. First rank asseverations to be endorsed if the facts had not already proved the possibility of an art to be operated, to be played - this word being understood in its fuUest sense in order to re-create, whereas certain works need to fulfill their meaning the cooperation of the spectator who confers or discovers dimensions that may very weJI not have been forseen by the author.
With them one has to practise a voluntary act. The spectator has to behave in such away that its polyvalence becomes manifesto Some of them are useful "in addition". Miguel Berrocal, who invented the dismountable sculptures and the pioneer of the multiple work produced in great number for its popularization, a master in his full youth, opens the Spanish participation. His work, 50 correctly compact and precise demonstrates the architectonic sense that directs aU his beautifuUy omplex works in that each one of his pieces ranks in its tum as a sculpture itself.
In the work of Berrocal everything surprises and astonishes, from the intricated proposals of some of his dismountable pieces to his coherent, beautiful and irreprochable solutions. Sculpture, architecture, jewelry, the work of Berrocal, besides a noble intent to render popular and to socialize sculpture, is a lovely game from intelligence to intelligence. In his pieces. His luminous machines and his sound faucets open multiple possibilities to the spectator who byapplying them can open lights and sounds and very indefinitely the unfolding of his works.
Julian Martin de Vidales has been working for a long time on the old Spanish craft of printed leather to which he has given a rank of art. His research, once the first technical problems had been solved, has been directed towards the achieving of a changeable space, thanks to a series of mobile elements which the artist anticipates on the surface of the picture and wbich can change the aspects of the work freely by unfolding and refolding. Aurelia Munos makes unusual tapestries.
Her weavings can be opened, closed, put together at will as well as be used as curtain, wall, sculpture Or enclosure. If in bis previous human beings - gagged and silent men and women - the aTtist was criticizing an alienating society. In his more recent works his problems have become more acute, the criticism more direct, more implacable. Now his personages are marginal men, demented, fugitives, war wounded. To the moral pain of his 'previous human beings the physical pain of the defeat, of the man's abasement are added to a estate of deprivation no more important than a broken boUle, last and dramatic result of the pitiless game of our present society.
The Zarpa Group has developed an interesting plastic adventure designing and building the "Capablanca" chess in which each piece is a sculpture that couples to the other ingenuously, forrning a cube. Art; game, works to be manupulated to keep our senses aIert forcing us to integrate with them.
Works for somehow we ali may feeI the prodigy of creating in a direct manner. Bronze Escultura, Estela: Alona dei Arbol, Pajaro como Leon, Mujer, Rapto, Via Apia, AlcaIde, Cosa, Santa Agata, Lata Maria de la O, Mini-David, Portrait de Michele, La Totoche, La Menina, EI Cordobes Oitenta e seis elementos. Axonometrias, Liza en Marienbad, Grotesch Equilibrios Bottom. Grotesch Equilibrios Before. Ritmo Luz-Sonido. Simbiosis Luz-Sonido. Xarxes VegetaIs, Mujer Pajaro, Cascadas Anillas, Enfermo, Pies Vendalos, Delincuente, Sorprendido, Almohada, Almohada I, Almohada 11, Almohada I1I, Almohada IV, Almohada V, Triptico Enfermo 11, Triptico B, Acrilico III, Ajedrez "Capablanca".
Madeira ;pintada a duco. Tablado de x Stephen Prokopoff, diretor do Museu. Westermann, cada um com cerca de quatro trabalhos. Esse fato reflete a atitude de muitos dos artistas de Chicago. Cria-se, efetivamente a atmosfera oposta. Em Chicago, o estilo de vida do artista, seu ambiente, e! Stephen Prokopoff, director of the Museum. Artists selected are Roger Brown, Edward C. Westermann, each of whom will be represented by approximately four works. Since World War 11, Chicago has been one of the United States' vital centers for the creation of important new forms in art.
The exhibition, "Made in Chicago" will mark this city's first major presentation to audiences abroad. When I was invited by the Museum of Contemporary Art in to organize a show of Chicago art, it was agreed among the artists and myself that the "Iower leveI" of the Museum should be retumed to its original function - abasement. This was accomplished by the installation of an octopus-like fumace, the division of the space into a number of small rooms papered with "brick" wallpaper, a ping-pong table and other mmpus room basement objects.
It is this prevailing flavor that reflects the attitude of many Chicago artists. Given the opportunity of showing their work, they agree that the atmosphete must avoid conventional purity and grandeur. In fact the opposite is created. Wall surfaces and objects are introduced that compete visuaIly and at the same time compel the viewer to stmggle with works in an environment that does not enhance but instead intensifies the obsessiveness of the works.
As the viewer becomes accustomed to the discordant elements, he is at the same time touched by the "bad taste" of visions that are not "ART". In a related way, many Chicago artists live in the most anonymous neighborhoods in six-flat apartment buildings. Because not many concern themselves with the artist in Chicago, the artist does not even go to the trouble of styling himself into a self-conscious individualist. He remains remarkably uncompromised, expressing himself as he chooses.
The artist is rareIIy criticized and never lionized.
Despite the pleasure he takes in the company of his fellows, he is alone in his expression of himself. In Chicago, the artists' life-style, his environrnent, and his world view are ali very much his own business, and very much accepted by those around him - perhaps a situation unique to the artist in the United States. Featured in the show is H. Westermann, somewhat older in years and more prominent in reputation. Although he has not been a resident of Chicago for some years, he nonetheless has been an absent father to more current developments. His humorous and ironic sources are deeply felt by the other artists even though a direct influence may seem obscure.
When asked if there is a Chicago "School" I am uncertain how to answer. However, I am sure that the art produced in the last decade in Chicago is the freshest and most innovative statement to come out of this city. I feel that the artists represented in this exhibition not a11 of whom tive in Chicago have produced works which make one aware that something special has happened at a certain time iQ. I am also intensely aware. IndividuaIly there are obvious and logical differences of style and technique, but the ironic humor, pleasure in the vision of the lower middle class, and their disregard for the "grand tradition" binds them together.
Puerto Rican Wedding, Colo Donald Baum, Chicago. Natural Bridge, Koffler Foundation, Chicago. World's Tallest Disaster, Phyllis Kind Gallery, Chicago. Cris Cross Country Groves and Show, Donald Baum, Chicago. The Greener Grass, Leonard J. Horwich e Sra. Whitewater, Sarab Canright, New York. Panama, Colo S. Pascal's Triangle, Country Club Dance, Ray Yoshida, Chicago. Rousseau's Lily, Yellow Lily, De um colecionador, Chicago. Rooms of the Storm, Hall of the Night, Very Worldly, Robert Bergman, Chicago.
Enterprize Encounterized the Spydar People, Aquarela sobre Papel. Recyning Blackveenus Rabbit, Giant Bryd, Propriedade da Phyllis Kind Gallery, Chicago. Snooper Trooper, Karl Wirsun e Sra. Nose Jam, Henry M. Buchbinder e Sra. Koffler Foundatiof Chicago.
Joseph R. Shapiro e Sra. Propriedade de Deson-Zaks Gallery. Elcina, Lucy, Propriedade da Deson-Zaks Gallery. Two Infants Observing Nature, Leonard Horwich e Sra. Garden of Exbausted Fireworks, Samuel W. Koffier e Sra. Odalisque, Curious Cabinet. Jerry Albright, Chicago. False Bloom, Satin Hankie, Artror Paul, Chicago. Sleeve Mountain 1 and 2, Two Panels, Each. Male of Sorrows. Albert Newman e Sra. Wee Purr, Edwin A. Bergman e Sra. Shep Step 11, Acn1ico sobre Plexiglas. Mad House, Madeira, Vidro e Metal. The Old Hermit's House, Madeira, Metal e Vidro.
Dennis Adrian and William Zito. Battle of Little Big Horo, De um colecionador, New York. Walnut Box, Nogueira Americana, Vidro e Nogueira. The Passage of Time, Tinta e Aguada em Papel. Propriedade da Allan Frumkin Gallery. The Human FIy, Propriedade da Allan Fromkin Gallery.