Art and the Homeless

... synopsis of Fortune magazine article titled The $265 billion private credit meltdown: How Wall Street’s hottest investment craze turned into a panic The $265 billion private credit meltdown: How Wall Street’s hottest investment craze turned into a panic details the dramatic collapse of a once-booming private credit market, which saw over $265 billion in market capitalization erased in a matter of months. From summer 2023 to January 2025, private equity firms like Blackstone, KKR, Apollo, and Blue Owl posted extraordinary returns—KKR led with 103.4%, and Blue Owl surged 80.6%—driven by explosive growth in private debt. However, the sector unraveled starting in September 2024, triggered by the bankruptcies of debt-laden firms Tricolor and First Brands, followed by widespread panic among retail investors fearing AI disruption in software companies. This sparked a “run on a bank”-like rush to redeem investments, with Blackstone’s BCRED facing $3.8 billion in redemption requests (7.9% o...

Would you rather weep or laugh? That's what I call a false dilemma. It is an inherent contradiction. Both tragedy and comedy are cathartic. The truth is, both are reflexes, not an act. Neither laughter nor weeping can be faked—or they're not true. Both are deeply rooted in the human brain stem, a fact that did not escape Freud. For him, jokes unmasked the repressed, the unconscious—a revealing parapraxis—like a slip of the tongue. Freud's remarks on the Greek tragedy are likewise legendary.  But—beware—the censor is listening. Sex, as Freud discovered, calls for intervention. In tragedy, sexuality is over-expressed, leading to the birth of the tragic hero, born under an unlucky star, fated, pitiable, and a loss for all mankind. In comedy it is the failure, rather, of the sexual response that establishes the dramatic conflict. Do you notice the reflex twinge, at even so banal a reference as this, to the psychology of sex? It's not laugh-out-loud funny. It is humor, or ...

The reviews are in for my show, "Home is Where," which was displayed at the Art Gallery of the College of Southern Nevada, between September 26th 2025, and November 22nd, 2025. To the best of my ability, I have here transcribed the gallery log book comments: Maya Scott love it interesting thought-provoking   Jessica C. so cool very powerful artwork  Diana C. beautiful artwork i felt like it really spoke to me   Lennia F. tho' no face in the paintings there is still a "face" that's present an epidemic we "have to face" together -all or nothing  Emilia M. beautiful   Kayla Martinez amazing work colors used perfectly define the feeling the art is supposed to give   Sunni Smith it's sad but it's moving and beautiful   Gavin Daniel this art makes you feel something   Saphira Hernandez beautiful but also meaningful loved  Hannah McKittrick so deep and beautiful   Alicia Carbajal you guys are all great artists beautiful work   Nanako Sawad...

The essential ingredient of commedia dell'arte is the mask worn by its players. Modern players dispense with the mask because they no longer fear repercussions for their biting satire. Originally, masks hid the identity of the actor and therefore allowed the free, uninhibited expression of risqué, pointed, and impromptu satire. The rich and powerful were most often the subject of performances, and if they failed to contribute to the troupe's welfare, they might well find themselves the subject of the play. In some instances, the very rich and famous — often the targets of ridicule — participated in performances behind masks. Everyone knew who they were, just as everyone understood that the loosely, reality-based plots mirrored contemporary satire. Similarly, today’s comedy troupes improvise on the foibles of politicians and other dignitaries. With the introduction of patrons, clients, and formal contracts, the formerly freeform performances evolved into structured theater — as ...

... search the Chester Dale collection at the National Gallery of Art in Washington, D.C. The Chester Dale Collection at the National Gallery of Art in Washington, D.C., is a renowned assemblage of masterworks spanning Impressionism to Modernism, featuring key pieces by artists such as Monet, Renoir, Picasso, and Dali. The collection was donated by Chester Dale, a prominent American collector and patron of the arts, and is celebrated for its significance in showcasing the evolution of modern European painting. This collection is often highlighted in exhibitions and reviews as a highlight of the museum’s permanent holdings, with past exhibitions like, “From Impressionism to Modernism,” offering in-depth exploration of its themed and historical context. Visitors frequently praise the collection for its artistic depth and quality, with many noting the exceptional works by masters like Picasso and Dali, including Salvador Dalí’s portrait of Chester Dale. While the collection is part of the...

The painting “Family of Saltimbanques,” by Pablo Picasso, now in the National Gallery of Art, Washington, D.C., has a well-documented provenance going back to its creation in 1905. The painting was originally purchased directly from Picasso in 1908 by André Level, a Parisian lawyer and financier, for the collection La Peau de l'Ours. Six years later, in 1914, it was sold at Hôtel Drouot in Paris and acquired by the Thannhauser Galleries in Munich. Between November 1914 and June 1915, the painting was bought by Hertha Koenig, a German poet and art patron, and who was a close friend of the poet Rainer Maria Rilke. The work then passed to the Valentine Gallery in New York, where it was sold in 1931 to Chester Dale, a New York banker and art collector. Dale, who amassed a significant collection of modern French art, bequeathed the painting to the National Gallery of Art upon his death in 1962, and it officially entered the museum’s collection in 1963. The painting has since become a ce...