Red Ballon Links




Autor: KaM©

~ 28/06/17

DoOver Specialist Vikki Watt and artist Karey Maurice @ Opera Gallery NYC.

While strolling to the Metropolitan Museum of Art’s Breuer building location formerly known as the Whitney Museum on Madison Avenue several months ago. I walked passed an art gallery that was displaying an early Keith Haring painting that caught my attention.
I thought to myself maybe? Maybe I could walk in and talk to someone there about my personal connection with Keith and hope for the best?
Well three months later I got an invitation to a fantastic opening reception for the artist exhibition of Bernard Buffett paintings. So I call up my partner in crime Vikki Watt and we go to explore the amazing collection this gallery has to offer.
To my surprise they rotate there artists and mix the exhibitions by peppering in a few highlights. For example this Keith Haring painting behind us is a good example of the diverse collection Opera Gallery has in their inventory because we were actually there for a Botero and Sequi exhibition that was just breathtaking.
I wish I could have signed a purchase order the minute I saw a couple of pieces on display.

Autor: KaM©

~ 07/08/11

painting by Karey Maurice "The Last Sufferers" copyright 1991 all rights reserved.

DaVinci’s 80th anniversary book.

Just last month this book was released in honor of the 80th anniversary of the nonprofit gallery where I have exhibited my work for over ten years.
The Da Vinci Art Alliance is one of the oldest galleries if not “the” oldest gallery in Philadelphia and has roughly 150 members who periodically take part in themed exhibitions organized by its board of diectors. In 2007 I was elected to that board of directors making me the first African American artist to ever hold a board seat at this gallery founded by Italian American artist in 1931 eighty years ago.This marks an historical event in the history of art and the book contains an essay by my friend Dr. Debra Miller Phd about my version of Leonardo Davinci’s Last Supper titled “The Last Sufferers” which depicts a multicultural gathering of the apostles, updatting the high renaisance painting to a more contemporary expression to reflect the new direction the gallery has taken towards diversity.
“It is a great honor to obtain this credit to my career as an artist but more importantly it reflects my determination to not only make meaningful works of art, but to make a historical impact on the contemporary art world.”
The book is available at or you can stop by the gallery at 704 Catharine Street in Philadelphia and pick up a copy or two while your enjoying the historic sites.

Autor: KaM©

~ 18/01/11

Image by Karey Maurice

Last year I wrote about how Andy Warhol made his contribution towards the civil rights movement by creating the “Race Riot” series of paintings. I commend his efforts because I know for a fact that he certainly wasn’t going to visit Selma,Alabama or join the march on Washington,DC for he was far too busy in New York trying to defend his own position on contemporary art.
This brings to mind just how much has changed but also, how much has remained the same in terms of how we view the state of race in this post civil rights era known as the twenty first century.
Although the country has elected an African American to represent their idelic mentality concerning a pseudo utopic society we still suffer from a condition of exclusion, and a, “not in my back yard” or ” not at my dinner table” position.
The country couldn’t be any more divided than it is now using the political titles “Republican” and “Democrate” as if it is a social code used for describing caucasian people and people of color.
As I do more research into the cultural world of fine art (1800-1900) I discover that it was never really considered that African Americans would ever produce modern art.This creates a situation that becomes problematic for most art historians because the basis of their research is grounded in european’s creating art even though they borrowed and manipulated images from around the globe from other cultures. As I stated before in a earlier post, there’s a conscious disconnect between the ancient Africans and the post slave African American in this country that does a disservice to the entire world.
My dream is to see the day when there are art exhibitions that showcase contemporary art that is produced by all nationalities exhibited together and is discussed in its proper context,time and influence.

Autor: KaM©

~ 09/10/10

Is it me? Am I not getting the picture? Why is it that every cultural institution in America namely the ones in the title of this article showcase art & artifacts by caucasian people solely as if African Americans don’t exsist or posess the same ability of artistic creative expression? Sure there are a few that have risen to the presteige of being exhibited in galleries and museums but most of them posthumously and they never really saw any personal success while they lived.And yet the artifacts of our ancestors from Egypt,the bush of Africa,Native America,Austraila,Oceana and god knows where else is kept quite vividly on display in museums around the world.
It seems that there is some kind of disconnect between the ancient African people and modern post slave African Americans that nobody wants to address.
I agree that education or lack thereof plays a big part in this phenomenon after all, African Americans were not able to freely express themselves legally until 1863 and probably were not exposed to art until fifty years after that.
So there’s quite a bit of a head start as far as culture is concerned but we live in a technological enviorment and are exposed to the same information as everyone else now so, there’s really no excuse unless you want to argue about subject matter aesthetics and tastes which are personal choices.I often wonder from a anthropological standpoint that if African Americans were to somehow become extinct today,what would be left behind for future cultures to examine and study about us? What kind of artifacts will be on display to represent our culture?We already got the singing & dancing and music down packed but there’s much more.
Let us here from Dr.Cornell West who in this video explains how important art and the arts are to our very nature as a society and then,you tell me what time it is…O.K.

Autor: KaM©

~ 16/07/09


History 101 vs. Introduction 102


After reading the Introduction to the July 2009 issue of Juxtapoz to find out what the latest issue was featuring, I was deeply offended. The Editor asks the question: How does the Obama Administration change strict immigration laws to allow foreign artists to live, work and thrive in the United States of America?

Although I have nothing against legal immigration in general, I and some fellow artists find it offensive to focus on artists from other countries instead of those American artists who remain hidden despite having paved the way for this graffiti & street art movement. It seems to me that an entire group of people who have contributed tremendous amounts of creativity to American graffiti & protest art go ignored unless they are in some kind of trouble (arrested), sick on drugs, or half dead on a PBS documentary. Yet, it is the very influence and impression left behind by these unsung pioneers fueling many careers that reach stardom or the “American Dream,” as the Editor puts it.

The Editor blames the dilapidated state of education in America for this cultural over site, and suggests that the Obama Administration would best serve the community by addressing this issue. While I partially agree with that sentiment, I also believe that education goes both ways. The “Art World” – high or low – needs to take a look at itself and realize that there is an unbalanced focus in terms of value exposure & marketing when it comes to educating the public from a cultural perspective.


Aside from music & dance, American museums, galleries, publications, and media tend to overlook the reference source and instead promote its byproducts. Point blank, African American artists have too long been shut out of the American art market. Why look outside the United States for talent when there is a group of indigenous people who have been clamoring for recognition. Before creating any mechanism for importing foreign artists, the existing value at the root of American culture must be mined and utilized.

This letter is my personal opinion and not the subject of my artwork and should be read with that in mind. However I have touched on social political topics that become popular in the media.

Autor: KaM©

~ 16/04/09

Ref. Pictures of Nothing abstract art since Pollock. by Kirk Varnedoe

One of his statements about the origins of modern contemporary art in the twentieth century reads like this: “This kind of art is conceivable only within a system that is in crucial sense unfixed,inefficeint,and unpredictable-a cultural system whose work is done by the play within it,in all sense of the word,in a game where the rules themselves are what is constantly up for grabs.-Kirk Varnedoe


“Even the most trained painters cannot escape the confines of order, structure,and free themselves from the grips of geometry. What has been deemed abstract I find has a basis in mathmatics to a large degree.

Anthony Fearron’s work is devoid of these basic rules and code, his foundation is sprituality with cosmic vibrations of universal music flowing over the surface of the canvas, it cannot be equated by numbers,formulae, or abstract conceptual theory in general. Each painting has its own personallity and color palate separate from one another even though they could have been painted in the same studio session.

Destinct graffics,bold color and text is how Thom Reaves chooses to express his passion for the art nouveau period of nineteeth century France.His love of order and beauty translate a very romantic essence of communication that he has totally made his own by starting with references to Degas and Lautrec pretending to paint subjects like Sophia Lorren or Josephine Baker if you could imagine, he modernizes the illustrative style these artist used to make advertisements, and, to add more fun to the paintings meaning he makes fake products with which the artist himself cleverly concocks in his own mind and he uses equally creative typography to complete the compositions.

My work serves as the anchor with its references to modern art dating back to post WWI era starting with the Datast to Surrealism to Pop art, and ending with the new trend of Pop Surrealism or “Low Brow” art that include my vinyl toy sculptures which relate to my new found interest in Japanses Anime and Manga which is represented today by this “Do it Yourself” movement that has surfaced in the last decade here in the United States.

The game has been totally changed when trying to identify a certain type of artifact connected to a specific race or ethnic group of people.This show truly reflects the current trends in painting & sculpture and updates the Trenton arts community into the twenty first century and beyond… tradition has been reassesed,reexamined and manipulated in the hands of these III Guys who share contemporary thoughts about society and choose to ignor the barriers of exclusion by being identified as solely African American artist, they are artist who have the same access to information and materials as anyone else which has leveled the playing field in contemporary art.