Bisagra’s Diné designers, stylists and Indigenous labor force have created a clothing line that is authentically by Native American designers, adding a beautiful fashion twist.

For a gorgeous T-shirt, check out Home | Bisagra Clothing Collection (thebisagracollection.com). Enjoy browsing through their collection based in Native American, Diné, art, some with “spirit animals” as the inspiration.

The latest addition is designs by Gonzo artist Grant Goodwine. Click here to feast your eyes on one.

Also shop the Peter Ray James collection. Peter Ray James is an honors graduate of the Institute of Native American American Indian Arts of Santa Fe.

Also, click here for the exclusive Red Shark T-shirt

See the gorgeous

Kinyaa’áanii Scarf here.

and the

Spirit Horse – Teal T-shirt here

From the Mission Statement page: “Mission
Bisagra, the Spanish word for ‘hinge,’ grew out of a vision to open a door for Diné artists and provide a pathway for them to showcase their work in larger, mainstream fashion markets.  Bisagra’s founder, Judy Campbell Clancy, began working with Mabel Canuto – a talented Diné seamstress—-in 1978 to sew a fashion line of cowboy shirts. It was troubling to Campbell Clancy how a people so talented and richly steeped in weaving heritage could experience one of the highest unemployment rates in the country. Her work with Canuto became an effort to combat systematic racism and poverty by creating job opportunities within the Dine communities for weavers and other artists.”

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which recently celebrated its 50th birthday, is hosting the Launch of the hard cover deluxe edition of The Hell’s Angels Letters: Hunter S. Thompson, Margaret Harrell and the Making of an American Classic all during the month of July! Coming soon! If you are in San Francisco, drop by and see the exhibit. The live events I will participate in, and Ron Whitehead and Grant Goodwine will occur during the week of July 15 – 19, with a grand crescendo, I expect, on July 18, Hunter’s birthday. We just picked up the plan from 2020 and moved it – expanded – to 2021. More details as they open up. If you want an invitation, please let us know, as room is limited. If you have any Hunter Thompson memorabilia you want us to exhibit on the walls, let us know. I will pass that to the curator of the exhibit, Charles Cunningham, man of many hats (he is also the publisher, with a strong artistic bent). If you happen to have anything you want to let us exhibit on loan or anything we can include in the hard cover that is rare HST memorabilia, we will be ecstatic.

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Looking at the cloud photograph, which I took in Belgium in the late 1990s, when I took several rolls of these sky images every day, then sorted out which ones to later have professionally scanned, I see painting-like scenes in patches. Isolated areas where a “painter” set up an easel and made a work of art. Only, it happened in the clouds. Also, before snapping the image, I did some intentional staring meditatively. For me, this brought it into focus. This image is the cover of a book in progress – very short – by me on cloud artwork, its history, its effect on me, with examples of painting-like clouds.

The event takes place at The WHITE SPACE Gallery CHELSEA (555 West Street N.Y.). The Italian art curators sponsoring the event, Salvatore and Francesco Saverio Russo, are going ahead in spite of Covid. And so they must have a plan. My work is on video display. Other painters, sculptors, photographers, video makers, performers, graphic designers, stylists, also included in the event, may have full-size paintings or other artwork or may present on video. The curators write:

New York brings together the best of art, design, architecture and music of all the world. A place of dreams and emblem of the “new world,” New York is a symbol of travel overseas, of different cultures and styles that meet every day in its frenetic and very rich extra-ordinary daily life.

Besides the video exposure of Faces in Star Burst at the White Space Chelsea Gallery, October 21 – 24, 2020, the cloud giclee film photograph will be displayed in the Italian magazine Art International Contemporary Magazine in the September/October issue. And in an exhibit catalog “The Stars of Contemporary Art.”

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Margaret Harrell – Rider on Horse – in exhibit

Above: Pablo Picasso, The Friendship Bouquet, at the Oud St. Jan’s Museum of Bruges, which just exhibited Rider on Horse – an experimental cloud/sun photograph by me – November 26 through December 1,  2018.

Bruges is the exquisite canal-lined city in Belgium that tourists love, just a half hour from Ghent, another old Flanders city, and I’m a dual national. Bruges is one of the loveliest cities in Europe, a little Venice. The event is the Flanders International Biennal of Contemporary Art. And I will be among 60 artists.

Right in the middle of the city, all that is best about Bruges and about life in general comes together in a unique cultural site: art, culinary delight, elegant meeting and function rooms, stylish interiors and spacious outdoor terraces with a magical view of the picturesque canals. Whoever enters the Old St. John Site will be amazed by the almost tangible presence of the rich history of Bruges. This is the spot where one of the earliest infirmaries in medieval Europe once stood. During the 19th century, it was home to the St. John’s Hospital, with its large communal wards. Following the closure of the hospital in 1976, these spacious wards were restored and since 1989 have formed part of the Old St. John Congress and Event Centre. The different halls are ideally suited for the organization of congresses, trade fairs, events and social functions of all kinds.

Old St. John’s Site, Bruges

Flanders Biannual exhibit – Oud St. Jan Museum – Bruges

A permanent Picasso exhibition is a big draw. It has 300 works of this famous 20th century Spanish artist – mostly graphic art, with one of the most extensive collections in Europe. At the moment, there is also an exhibition of the work of Andy Warhol. In 2015, the Centre was the location for Body Worlds (Körperwelten), in 2016 it was Wildlife Photographer of the Year. Last year, in 2017, it had the exhibition “Da Vinci, the inventions of a genius.” From March 31 on, it became the venue for the exhibition “Mummies, The Secrets of Ancient Egypt.”

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Sun Spotlight on Faces Margaret Harrell

In a September art event, the publication The Best Modern and Contemporary Artists 2017 was launched in Berlin at the Georges-Casalis-Hall. It is curated in Italy. And I was invited into it. How I would have loved to attend in person (sigh). The location was the Französischer Dom.

An condensed online description reads: “You won’t get any more central that this. The French Cathedral (called the Französische Friedrichstadtkirche or the Französischer Dom) stands in the middle of Gendarmenmarkt in Berlin’s historical city centre. As a

“Clouds Floating” – Variation of “Cloud Gathering”

venue for receptions, events, conferences and cultural events, it has the best possible location in Berlin . . . The great hall, with its 700 square metres, has room for 500 – 600 guests. A further highlight of the French Cathedral is the stunning Georges-Casalis-Hall – an oval room with wooden parquet floors – perfect for lectures, conferences or receptions for 100 to 150 people.”

Another online description adds “The edifice commonly known as the Französicher Wikipedia gives a little history:

Berlin Französischer Dom art event – Margaret Harrell

 

 

 

 

 

 

 

Französischer Dom (the term is German for “French Cathedral,” but in the case of Gendarmenmarkt, Dom refers to the French word for English “dome” and not to a cathedral. Neither church on Gendarmenmarkt was ever the church of a bishop. . . .

Louis Cayart and Abraham Quesnay built the first parts of the French Church from 1701 to 1705 for the Huguenot (Calvinist) community. At that time, Huguenots made up about 25% of Berlin’s population. The French Church was modelled after the destroyed Huguenot temple in Charenton-Saint-Maurice, France.

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Computer PK is illustrated often in Keep This Quiet! IV. “PK” stands for “psychokinesis,” or mind over matter. But I experienced it as a lovely, high-adrenalin creative experience. Like Jackson Pollock throwing paint on a canvas. Only, here no throwing of paint. Just the surprise without the physical act of participation.

Below, dated May 2 (The Proud Highway: Saga of a Desperate Southern Gentleman 1955-1967 was published in paperback by Ballantine in April 1998, presumably that same year) I told Hunter, “I have seen the new edition of your first book sitting on a bookshelf, in front of a Columbia University area store.” I caught him up on my writing – noting that I was about ready to include things I left out before, “as they have a way to come in right.” THEN: “I believe you probably did not understand why I never mentioned you up to here, and were relieved, yet also on the other hand, maybe furious. I have consistently left you out, and you replied in kind. It was fair, but it felt quite bizarre” – i.e., bizarre to see the publication of the Hell’s Angels-period letters had absolutely not a word about me. I find this next amusing. I had noticed that in some accounts he gave of “the snake story” (the  snake I kept for him in my Random House office), I was omitted and he himself was (falsely) reported to have kept the snake in his hotel room. In the book of letters, he implies (by leaving me out of this  collection of letters) – that his editor at Ballantine was the one who did what I did. So I dived into the humor. The top paragraph is about “the snake story”; the second is about my intention to include him in my next book:

Here is the relevant excerpt from the original – unaltered – letter I wrote:

The computer PK version of the above text is below. It starts by squashing the text that precedes “the snake story”:

Computer PK version

The next computer PK printout of this same original text had a different strip at the top, then started the text one line further down (“the editor at Ballantine”). A third variation had yet a third strip at the top but selected a different extract from the original letter.

Another two printouts were both empty pages with a line of symbols/letters at the top, replacing  the strips of squashed text. But no text at all beneath, just empty Space. The two pages had different symbols/text in the line at the top:

There was also a computer PK restructuring of the opening paragraphs.

Needless to say, this was fun. And exciting. My participatory computer kept me in high energy for years. I had to use discipline to stop spending all day testing what new printout variations would pop out of the printer into the room. And deciding which to use in my books. The computer often energized my letters while I wrote them, and I felt the letters that had gone through this treatment then got into the mail in an intensity container, regardless of whether or not I included the PK examples, which mostly I didn’t.

End of the story: In my next book, I did not in fact write about Hunter (except for one paragraph). That one paragraph was the only instance till after he died. And he corrected the omission of me (and others) in the second book of letters. Actually, I understood the reason for the omission from the first book. But it still felt like walking into an alternate reality to read through the letters of that 1966-1967 period. The omission is perhaps why biographers initially got the story about Hunter at Random House wrong, having no accurate references till Keep This Quiet! used his own letters to set the record straight.

Anyway, here you see two people practicing their own brand of craziness in different ways. Hats off to Doc for his unwavering authenticity that so often showed the way. And for his literary, comic legacy as well as journalism breakthroughs.

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Sly Swirls

clouds floating – Harrell

Sun Spotlight on Faces Margaret Harrell

Cloud Gathering – original – 2010

Celestine Conq

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Hello, we are pleased to inform you, that your artwork is selected to participate at “ArtExpo Metropolis” ! International Art Exhibition in Rome (Italy) from June 6,2015 to June 13,2015 vernissage saturday June 6,2015 at 18 in the centre of city La Vaccarella Art Gallery in Vicolo della Vaccarella,12 00186 Rome. Artistic director of gallery and curator of the exhibition Renato Costrini.

The next step is how to get it there. JW Photo Lab will print it on metallic paper, mount it, and add a hanging system. They will even pack it for shipping. But they no longer want the liability of shipping. So there’s that to figure out, including the customs paper. But I’m halfway there

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