Emotional insights and Release

July 24 the Aquarius Full moon’s energies linger and remain in Aquarius until late on the 25th.Mercury in Cancer trine Neptune in Pisces At the Magical master numbers 22°

These two positively aspected planets Bring intuitive insights into long forgotten emotional and family issues gestating in the soul and unconscious, not just from your childhood but from past lives too.

Remember that Mercury in Cancer and Neptune in Pisces are always wanting to nurture and rescue others. The song Emotional Rescue by the Rolling Stones comes to mind. This aspect is about receiving. Open yourself up to heal yourself now as everybody’s wounds you see outside of you are projections of your own inner wounds. We are all all PTSD, ‘it’s a fact of being born a human in this hard Saturnian 🪐 world.

July 25 as Mercury opposes Pluto in Capricorn you can excavate even further into the unconscious realms on a more physical and visceral way. Remember that the body holds all the emotional and pre-verbal, pre-intellectual programming of the child.

Neptune rules the 12th house of the Unconscious, as does Pluto the Lord of the Underworld, the land of shades or shadows. This is the realm of the the ancestors and their knowledge and wisdom. Pluto in Capricorn and Neptune are sextile (60 degree aspect) to each other. We can access our unconscious ancestral knowledge in visions, meditation, dreams and in our bones. This is an incredible time to heal so many old toxic emotional wounds.

The Full Moon is a time of completion. Bring those strong emotions up, weep and wail as you must, get them all up and out and release them. Remember you were innocent. Record these by writing in a journal.

Aromatherapy, is a wonderful tool to help in processing emotional issues, used by the ancients. Using “forgive” a DoTerra blend is recommended. Remember you do not have to rush into forgiving anyone. If you would like to purchase this contact me. Cleansing with a healing full moon bath is recommended.

Brain fog is one literal expression of this energy. If you feel like ” nothing is real, ” like John Lennon of The Beatles song Strawberry Fields’s Forever, then “nothing to get hung up about” is also the answer. Let it all float downstream. This is also a great time to let creativity flow, tapping into the great stream of collective unconscious energy.

Meditation, visualization and affirmations with full emotions behind them can create miraculous results. Pay attention to you dreams tonight.

Please share widely all writing is copyright of Tara Greene. Get a reading http://www.taratarot.com Tara Greene, Tarot, Astrology Psychic Consultant

Venus in Taurus, art critics, true art

Venus enters TAURUS april 15- May 9

She rules the arts. She is the MUSE or divine Goddess of inspiration. That’s why Neptune is her “higher octave.” Venus is earthly fleshy real sex, art, money, luxury, relationships.

 I started out as an artist. At age nine I told my surprised mother that I had decided to be an artist when I grow up, that was that. I had figured out that being an artist was a lisence for escaping the rat race, the normal expected, boring, unconscious way of life.  I saw ART  as FREEEDOM, ANARCHY. I went to OCAD which wasn’t a design school then. My first husband was an artist, my present husband is an artist, our daughter is presently at a performing arts high school.  

I was born with a natal VENUS NEPTUNE EXACT conjunction in Libra the Sign VENUS rules. Yes art is a religion, very spiritual to me.

I happened upon this article in BLOUIN ART INFO -Canadian version. I will excerpt it and provide a link.

FINALLY someone with weight in the art world has spoken the unspoken!  American ART Critic DAVID HICKEY 

what do you think about contemporary art?

There are only a few great critics holding forth in today’s waning critical climate who maintain an element of danger in their invocations. These voices of authority and interrogation bend and veer away from our understood rails of art appreciation into rogue states of wicked qualification, correction, dissent – even revolution. It takes great bravery, in this moment, to call a thing a thing, and something even greater to be compelling and convincing in this effort. These critics tend to say things loosely, ham-fistedly, but with a pulpiteer’s command. They tend to interrupt the academic scaffolding of distance with oratory tempos that are stark and seemingly stupid in their abrupt profundity; they speak with adamancy, and they ring bells that feel assailing.

Among these writers are Peter Schjeldahl, Ben Davis, and Dave Hickey, the infamous and revered American critic who has carved out a voice in the Western art world akin to that of journalism’s Hunter S. Thompson. He has achieved storied laurels – seemingly despite but also because of himself – and has recently and very publically retired from the racket entirely. He has not done this from exhaustion nor age (he is 73) but because his subject has grown too insipid, too “stupid,” he says. It’s easy to believe him.

Dave Hickey did something to Canada, which should not have been unexpected; all the same, it was reviled. Hickey came to Guelph University for the annual Shenkman lecture, and offended everyone.

Importantly, on the eve of Canada financier Jim Flaherty’s federal budget reveal (in which general ‘skills’ were summoned to match the country’s available employment), Hickey produced an argument that had a special relevance for its tender audience, and its economic moment: as he took short aim at his crowd – comprised of provosts, university presidents, deans, professors, students, and former graduates – Hickey commanded we give up our institutions, relinquish our vain pursuit of accreditation, and summoned us to become artists again. “Demand that your students can perform a jump shot,” he said, in one of many references to an idealized world in which the art school was run like an athletic department. “Give up your three cars and pool, and the 4 o’clock meetings, and become an artist again.” But, he amended, if we are to continue in our endeavoring of an arts degree, or in our pursuit of a tenure-track professorship, demand of ourselves and our students skills, results, ambition, and that we kick the 90% that is shit, to the curb.

There are very few of us working from the art world’s bleachers, perhaps even fewer of us trading in its court, who would argue against Hickey’s main thesis: that the academe is destroying contemporary art. However the critic-cum-orator quickly established an antagonism towards his audience that was only further embossed by his seeming casualness.

Clad in a black sweat suit and runners, Hickey approached the podium – after no fewer than three introductions (a performance that would only serve Hickey’s later point on the academe’s overwrought hierarchy) – and very quickly descended into an 80 minute lecture that, while seemingly rudderless (he had no notes, and repeated himself frequently while veering off into anecdote and recurring metaphor) was in its sum a strident call for change. He was appealing to civilization.

“In America, and in Canada in particular, the balkanization of our universities has pretty much destroyed civilization as we know it. I think we’ve done it under the guise of control – as Michel Foucault would say, ‘care is control’ – and I’m here to argue for less of it,” he said. ”I’m here to argue for a little more benign neglect.”

The critic flitted between personal anecdote (quoting his friends Richard Serra, John Baldessari, and his nemeses, Clement Greenberg and Thomas Jefferson), near constant swipes at the academe, a few bigoted slags, and consistent, impassioned invocations for systemic change, though he maintained that “there is no deficit of quality work, it’s just that the world around it has changed.”

While figureheads like John Kissick, Dasha Shenkman, and Matthew Teitelbaum dropped their heads and rubbed their foreheads (with some gesturing wildly for moderator Robert Enright to close the lecture), others held hopeful expressions in a transparent commitment to the critic’s overarching thesis. The exquisite and painful moment of Hickey’s truth and brutalism brought to mind Peter Schjeldahl’s call to arms, of a few years ago, first issued at the New School, and then transcribed for Frieze (March 2011), wherein he spoke of the “irreligious gravitating towards art,” and how its “want tends to be lonesome and blind.”

Schejldahl goes on, “An educated common sense of the last three decades holds that all art is rhetorical and thus a game of pretenses and/or of exposing pretenses. This view is basic to the gaming of art. In fact, all art can be seen that way, but not usefully, if anyone’s experience matters. It ignores the fact that good art happens to us in ways that knock us out or our educations.” Complaining about contemporary art rhetoric and the ubiquity of the term “practice” in relation to an artist’s work, Schjeldahl demands, “When do you stop practising something and do it?”

Hickey would, over the course of his freestyle lecture, emboss this very point (“go pro,” he kept repeating), while damning every academic and art school attendee in the room in myriad ways – some clever (“theory is really easy: it’s like playing poker with no spots on the cards”) and some lazy (“if you are manic depressive, dyslectic, morbidly obese, have down’s syndrome, you end up in the art department”).

At the end of his talk, Hickey was, unsurprisingly, met with a question from an audience member, who began tremulously, “well I’m not afraid,” but went on, gaining confidence, to demand of Hickey just how “serious” he was, because “it’s a huge insult to us who devote our life to the academe; not everybody has the ability to become a basketball player in the NBA.” Hickey responded, “if I was being insulting it’s because I meant to be. There is nothing that I’ve said that I haven’t done. But we’re not talking about your benefits. We’re talking about Western civilization.”

Dave Hickey, a letch, a rogue, a dissenter, an exile, had effectively performed his point. With the very subject of his seeming disdain positioned firmly beyond his pulpit, he exhibited a tremendous affection for its cause and well-being by demanding of it something greater. The Canadian art world and its academe suffered the point, one all too rarely made in this sector, and one never issued at its establishment: be better. As Hickey refrained, “how do you be brave? How do you be brave?” Likely those most angered by Hickey’s lecture will be the ones answering him in spite, and to good effect, in the years to come.

see what I consider to be art form a true artist- not academic –http://www.napob.com

Asteroid DA14 Feb 15 Nirvana Day,spaced out art

asteroid art Napoleon BrousseauThis asteroid 2012 DA14  Astronomers tell us will make a close shave to the earth on FEB 15

which is known as NIRVANA DAY

not the band with Kurt Cobain it’s sacred to Buddhists and Hindu‘s

it is small supposedly but will come very close- in the line of satelites

some conspiracy theorists are packing underground food to get outta the way.

will it be THE END of the World?

the largest ASTEROIDS first discovered were named after Goddesses-Ceres, Juno, Vesta, Athena in the 1800’s.

Ceres has been elevated to a new planet status.

Asteroids can seem like comets and spiritually represent mysterious messengers from outer space.

Artists are often prescient ,psychic, know things before the world does.

In 1997 my husband started to make a series of very quickly executed painting of asteroids

synchronicity here- for your Art Space enjoyment A Venus in Aquarius motif-spaced out art 

see the whole series 15 paintings , very beautiful, meditate on what the little space messenger means

http://www.napob.com/

asteroid space art Napoleon Brousseau

and https://www.youtube.com/watch?v=hctYB7Lppp spacey music