43. chandra (2009)

watercolor, gouache and ink on Arches, France watercolor paper
12 1/2 x 8 1/2 inches
Signed, titled, dated, and artist's copyright in ink on verso of painting.

"We Americans are one lucky bunch. But, let's face the truth. While the Declaration of Independence assures us that 'all men are created equal,' we'd best face the fact that we may be created equal but we are born into a society where inequality of family, of education and, yes, even opportunity begins as soon as we are born."

- John C. Bogle

44. njomele (2009)

watercolor, gouache and ink on Arches, France watercolor paper
14 x 14 inches
Signed, titled, dated, and artist's copyright in ink on verso of painting.

I only think of what I must do tomorrow - that I must dance Swan Lake, that I must dance Sleeping Beauty. I go from day to day. I don't clutter up my mind with a lot of externals and things I have no control over. Perhaps I survive by not thinking about all these things. All I'm concerned about is concentrating more and more on what has to be done, and I feel I must work continually harder...I suspect I'll go on dancing until I can't anymore. But, I assure you. I don't think about it. I only think about doing things well.

- Margot Fonteyn

45. joy (2009)

watercolor, gouache and ink on Arches, France watercolor paper
16 x 16 inches
Signed, titled, dated, and artist's copyright in ink on verso of painting.

Dear, dear! How queer everything is to-day!
And yesterday things went on just as usual.
I wonder if I've been changed in the night?
Let me think: was I the same when I got up this morning?
I almost think I can remember feeling a little different.
But if I'm not the same, the next question is,
Who in the world am I? Ah, that's the great puzzle!

- from "Alice's Adventures in Wonderland" by Lewis Carroll

46. samuel (2010)

watercolor, gouache and ink on Arches, France watercolor paper
16 x 16 inches
Signed, titled, dated, and artist's copyright in ink on verso of painting.

Art is a small thing, though an expensive one, compared to the media. It is a vibration in a museum; it deals with nuances that have no "objective" importance. It is not even a very good religion. But once it gives up its claims to seriousness, it is shot, and its essential role as an arena for free thought and unregimented feeling is lost.

- from "The Shock of the New" by Robert Hughes

47. barbara (2010)

watercolor, gouache and ink on Arches, France watercolor paper
14 x 14 inches
Signed, titled, dated, and artist's copyright in ink on verso of painting.

By the 1970s, the historical study of modern art had expanded to the point where students were scratching for unexploited thesis subjects. By the mid-eighties, twenty-one-year-old art-history majors would be writing papers on twenty-six-year-old graffitists. The modernist ethos was no longer a side issue in art history; it had become an industry, with a hundred links to museum practice, the market, and the activities of living artists. The lag between work and interpretation shrank to near-zero, and the sheer volume of commentary on new and nominally vanguard art expanded beyond anything that could have been imagined in Courbet's time, Cezanne's, or even Jackson Pollock's. For every ounce of fresh thinking, this overload produced a ton of incantatory jargon, art writing in which a fear of missing the bus mingled with the desire to find historical heroes and heroines under every shrub.

- from "The Shock of the New" by Robert Hughes

48. cherise (2010)

watercolor, gouache and ink on Arches, France watercolor paper
10 x 10 inches
Signed, titled, dated, and artist's copyright in ink on verso of painting.

"Oh, I believe she did. This is how Americans think." He was looking at me in a thoughtful way. "You believe that if something terrible happens to someone, they must have deserved it."

I wanted to tell him this wasn't so, but I couldn't. "I guess you're right," I said. "I guess it makes us feel safe."

- from "The Bean Trees" by Barbara Kingsolver

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