Warhol On La Cienega

Today I discovered Andy Warhol had one of his first shows at an art gallery on La Cienega where Bryan McLean, myself, and my sister went for the Monday Night Art Walk. This led me to search for Andy’s first relationship with Hollywood and the Stars. I found a article that says his relationship with Hollywood was a dark one, and, he may have felt intimidated with a openly hetero Bastian because he was a homosexual. This darkness must have faded when he became a good friend of my cousin, Elizabeth Rosemond Taylor, who was his muse. Did Liz hear, or see Warhol’s dark Hollywood side? Liz encouraged Michael Jackson to take up art. Here is a Rock Star artist gone Hollywood which is what my friend was. Bryan was bi-sexual. He learned to swim in Liz Taylor’s pool.

At TIFF, Andy Warhol Takes a Dark View of Hollywood

Six days ago a facebook group popped up on my newsfeed.  Last night I read the feedback of a woman who went to Uni High, knew Bryan, and went to the New Balladeer. She reminded me what a brilliant friendship I had with Bryan. On this group I read about the influence of Love had on Jim Morrison and Jimmy Hendrix. My good friend was a good friend of Jim and the beat poet Michael McClure, who had a powerful influence on him. Several years ago I posted on Antonin Artaud coming to Bozeman Montana for the End of the World Art Show. Artaud wrote an essay in 1933 ‘The Theatre As The Plague’.

Two hours ago I googled Morrison and Artaud, then, Artaud and McClure. Michael wrote a book of poetry titled ‘For Artaud’. Jim modeled his act on Artaud’s ideas as taught to him by McClure. This is profound because Jim emulated Love. Arthur caught him going through Bryan’s drawer. Was he looking for love letters? How about songs?

After my friend saw the large painting I did of Rena, he suggested we try to find her. I suggested we borrow camera’s from Mill’s College and take his Bentley to Nebraska and do a film on our search. Years later I began my first unfinished book ‘Golden Girls of the Corn Cob’. Rena is captured by a cult of Amazons who hide her in the sand dunes of Nebraska.

The title of my autobiography is ‘Capturing Beauty’. Rena is my Mona Lisa. I declared she was the New Helen of Troy ‘The Face that launched a thousand ships’ that brought doom to the Trojans. The connection between her late husband and the Captain Crozier cagonavirus crisis, is prophetic. Rena is the inspiration for Victoria Bond, the granddaughter of James Bond. I am kin to Ian Fleming via Liz Taylor.

John Presco




“The founder of the Theater-of-Cruelty, Antonin Artaud, poet-actor, described one of his infrequent scenarios thus: ‘eroticism, savagery, bloodlust, a thirst for violence, an obsession with horror, collapse of moral values, social hypocrisy, lies, sadism, perjury, depravity, etc.’ To anyone who has ever listened to The Doors at any length, this will appear to be a catalog of their material, but that’s just a part of the whole. This context of Artaud is more than their ornamental design, more than a convenient rubric into which they stuff their music. Among their contemporaries, The Doors are going somewhere different.

The second book from the famous beat poet Michael McClure who read at the historic Six Gallery Reading in 1955 alongside Allen Ginsberg, Gary Snyder, Philip Whalen and Philip Lamantia. This book is dedicated to the eccentric French playwright, writer and intellectual Antonin Artaud. This small volume of poetry features one long, beautiful photo printed on 4 folded unbound sheets. The cover features a an abstract Far East painting by McClure.













WeHo’s Gallery Row Was Once the Center of L.A. Art

Irving Blum, Ferus Gallery director, during Andy Warhol’s first-ever commercial gallery exhibit in July 1962 at 723 N. La Cienega Blvd. (in the unincorporated West Hollywood community). Warhol didn’t attend the exhibit opening. (Photo by William Claxton. Courtesy of Demont Photo Management LLC)
Irving Blum, Ferus Gallery director, during Andy Warhol’s first-ever commercial gallery exhibit in July 1962 at 723 N. La Cienega Blvd. (in the unincorporated West Hollywood community).  (Photo by William Claxton. Courtesy of Demont Photo Management LLC)

Art historians say that Los Angeles came of age as an art city by the early 1960s. As proof, they point to quintessential New York artist Andy Warhol – because the first one-man exhibition anywhere of his pop art paintings was July, 9, 1962 at a gallery on the edge of the unincorporated community of West Hollywood.

Warhol unveiled all 32 “Campbell Soup Cans” paintings that day at Ferus Gallery, located at 723 N. La Cienega Blvd. The exhibition confirmed that a considerable shift in the cultural landscape was well underway from East Coast angst to West Coast cool. Ferus was an upstart gallery, the first in the Los Angeles area to exclusively feature modern art.

“Ferus injected energy into the scene with Andy Warhol’s first-ever solo show,” the Los Angeles Times said. “Warhol’s appearance helped galvanize a sense that Los Angeles – a new city, steeped in popular culture and shiny materials like plastic – could become a pop art capital.”

The gallery’s owners had spotted Warhol and his work on a scouting trip to New York the year before and talked him into a one-man show then.

Warhol’s soup can paintings were shown side-by-side on shelves running the length of the gallery, as if they were cans in a grocery store. They were the first pop art exhibition on the West Coast and represented several turning points in the artist’s career. The soup can paintings were: 1) a key transitional work from hand-painted to photo-transferred (silk screened) paintings; 2) a change that also happened at the Gemini Graphics Limited Editions lithograph on Melrose Avenue in West Hollywood; and 3) among Warhol’s earliest paintings based on American consumer goods, and some of his first works that featured serial images.

Critics contend the exhibition was the breakthrough moment that launched Warhol’s career. Even though it wasn’t successful critically or commercially at the time, it made history, as Warhol eventually reached the stratosphere of New York’s art world by way of L.A.

Warhol didn’t attend the 1962 exhibition, but he was on hand for a second one at Ferus Gallery the following year when he showed “Gold Marilyn” for the first time, which he made in response to Marilyn Monroe’s death. His “Triple Elvis” was other main piece of artwork first exhibited at Ferus Gallery at the 1963 showing.

When Ferus Gallery opened in 1957, there was nothing else like it in the country. It was the right place at the right time, an important early incubator of contemporary and avant-garde art in Los Angeles. Besides introducing local talent Billy Al Bengston, Robert Irwin. Ed Moses and Ed Ruscha, the gallery also brought to Los Angeles audiences the latest work by such New York artists as Joseph Cornell, Roy Lichenstein, Jasper Johns, Frank Stella and Warhol, of course.

“When Ferus opened, it was the one really contemporary gallery dealing with younger Los Angeles and San Francisco artists; and that generation was the first, because of that support, to train here, work here show here and make national reputations,” said Henry Hopkins, former director of the San Francisco Museum of Modern Art and what now is the UCLA Hammer Museum. “The result is that Ferus stands as a symbol of the transition of Los Angeles from provincial center to what it is today – and internationally recognized center for the arts.”

At the time of Warhol’s exhibitions at Ferus, L.A. was emerging as a contemporary alternative to New York – a somewhat miraculous development because L.A. didn’t have a real art museum, which is a crucial piece of infrastructure that exposes artists to audiences and is key to cultivating patrons or collectors.

Such a museum didn’t exist until 1965 when the Los Angeles County Museum of Art opened on Wilshire Boulevard. Prior to that, what passed for an art museum was a department within the former Los Angeles Museum of History, Science and Art at Exposition Park, now the county’s Natural History Museum.

The David Stuart Gallery at 807 N. La Cienega Blvd. during a Monday Night Art Walk in 1963. (Photo by William Claxton, courtesy of Demont Photo Management LLC)
The David Stuart Gallery at 807 N. La Cienega Blvd. during a Monday Night Art Walk in 1963. (Photo by William Claxton, courtesy of Demont Photo Management LLC)

Gallery Row and Art Walks

What Los Angeles had, though, was the largest concentration of galleries west of Chicago, nearly all along a half-mile stretch of North La Cienega Boulevard that now is home to the La Cienega Design Quarter. The south boundary was Melrose Avenue, while the northern boundary was Santa Monica Boulevard.

These galleries more or less assumed the role of a civic art museum, the Los Angeles Times stated in a 2012 article. “They were crucial to building a contemporary art scene in a city with a younger, more fragile art infrastructure than traditional art capitals.”

Accounts differ as to the actual number of commercial art galleries. The Times said “at least 36 did business” in those four blocks, while California State University Long Beach history professor Sarah Shrank has written that “the late 1950s and early 1960s witnessed the opening of more than 100 within a couple of square miles of gallery row. Other sources put the number at a solid core group of 24 galleries along gallery row.

They had enough critical mass, in any case, to bolster the city’s reputation as one where cutting-edge, contemporary art was being made and exhibited.

What most people likely remember is the “Campbell’s Soup Cans” exhibition at Ferus in 1962, but there were other distinctive galleries in the North La Cienega cluster. The Nicholas Wilder Gallery was the first in the United States to show David Hockney’s work. The gallery’s owner even showed up in a few of Hockney’s paintings.

Although most showed modern artwork, the galleries were quite diverse overall. Heritage Gallery dedicated itself to exhibiting works of African-American artists, while the Joan Ankrum gallery was the first to have group shows featuring the work of black artists. The David Stuart Gallery had a specialized expertise in pre-Columbian art.

At least nine of the galleries along North La Cienega were owned by women. The Riko Mizuna Gallery was owned by the only Japanese woman on gallery row. The Eugenia Butler Gallery specialized in the work of conceptual artists, while the Molly Barnes Gallery launched the careers of artists Billy Al Bengston and John Baldessari.

“At the turn of the 1950s, only a handful of galleries existed in Los Angeles, most of them private and many located in the lobbies of big hotels. La Cienega Boulevard, then known as Restaurant Row, would become renowned in art circles by the end of the decade as Gallery Row.

A small number of arts professionals started galleries in that area in the early 1950s, many of them as a sideline to the slightly more lucrative business of picture framing. A group of gallery owners started art walks to publicize the works of this new generation of contemporary artists. They would stay open late and serve wine one Monday evening every month beginning in the late 1950s and continuing through most of the 1960s.

“On Monday evenings — especially on those Mondays when exhibits opened — it wasn’t unusual to see 1,000 people walking up and down the boulevard,” the Times reported. The Monday night “art walks,” as they came to be called, made La Cienega’s art gallery row internationally famous and helped call attention to L.A.’s importance as one of the nation’s leading art centers.

The David Stuart Gallery at 807 North La Cienega Blvd. during a Monday Night Art Walk in 1963. (Photo by William Claxton, courtesy of Demont Photo Management LLC)

Other accounts estimated the number of people to be as many as 2,000; often it was necessary to wait in line to get into a gallery.

These were self-guided tours that turned West Hollywood into a hip destination for Angelenos interested in art collecting and in gallery culture. La Cienega’s galleries stayed open late into the evening when these occasions were as much about socializing as business.

Time magazine reported that “from all over come matrons out for culture, art students, kids on an inexpensive date, a scattering of beatniks. There are even some artists, recognizable by their uniform: paint-splattered jeans, workmen’s shirts, big brown belts for hooking thumbs into.”

The magazine described the scene as “… a street of restaurants in unearthly shapes, of neon in colors not known elsewhere, of low white buildings – a street, in sum, of vast self-assurance.” Monday night on La Cienega was “quite possibly not only the best free show in town but also one of the most popular institutions in Los Angeles County.”

There was a sound business reason for the art walks, of course. “Advertised as the new urban bohemia, La Cienega Boulevard, like Venice Beach, became a tourist destination. In addition, like the coverage of the beat coffeehouses, newspapers listed weekly tours and special events taking place in the galleries. Most popular were the Monday night art walks, when the galleries stayed open late and people could browse from one gallery to the next. These self-guided tours helped collectors find new talent and price the current market,” according to “Civic Imagination and Cultural Authority in Los Angeles,” a book by Sarah Shrank.

The Getty Center sponsored numerous exhibitions in 2011 that commemorated the artists, places and time for L.A.’s becoming a major cultural hub. The City of West Hollywood participated extensively in the exhibition called Pacific Standard Time: Los Angeles Art 1945 – 1980.

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Cultural Shootout In Bozeman

“Social media footprints suggest a suspect accused of fatally shooting a Montana sheriff’s deputy during a nighttime traffic stop was heavily immersed in antigovernment, anti-police and pro-gun militia views.

While Lloyd Barrus made Facebook postings suggesting government excesses at Ruby Ridge and Waco and showing armed Oath Keepers with a private helicopter, his son Marshall Barrus has a criminal record.”

The Oath Keepers, headed by Stewart Rhodes, is an armed Patriot group whose members claim to be ex-military and police officers whose primary purpose is to defend the Constitution. It’s not clear, at this point, if Barrus is a member of Oath Keepers, but he has posted several social media pictures suggesting a possible past connection with the military.

Lloyd Barrus’ Facebook page also showed photos of former Breitbart editor Milo Yiannopoulos saying the “Terrible, Pointless Awful War on Drugs – Replacing the Black Dad with the State.”

In April, close to the birthday of Adolf Hitler, Barrus posted a picture of Nazi Germany with the caption: “No Rioting going on in this picture.”

The picture is from suspect’s Lloyd Barrus’ Facebook page in April, shortly after Adolf Hitler’s birthday. The caption Barrus posted says:
“No Rioting going on in this picture.”

In another post from last October, Barrus said, “The FBI & ATF killed more children at Waco then were killed at Sandy Hook. Where was the outrage then?”

Here are two prophetic posts I made that predicted the political and cultural showdown that took place in Bozeman Montana. I looked at my muse, and into the future. It has been alleged artists have owned the ability to do this for thousands of years. Alas, the proof arrives. This proof is very valuable to all artists.

Rena is has been capable of extreme cruelty. This aspect of women is oppressed. After it was revealed that the president of the United States deliberately walked in on young naked beauty contestants, and millions of women still voted for him, demands a motive be sought, for all of human culture is attacked by this Beast and the beautiful women who adore him, even worship him.

The relationship I have with my muse can be depicted in many medias. A play, ballet, or a musical would captivate many audiences. Our drama will explore the idea no woman is capable of love. Rena entertained this possibility that is the landscape she roams upon, like a thoroughbred horse. And in a horse, there is a rose………..the Fifth Rose! Can you see it? Can you find it?

Jon Presco

“Do you think there is a Cultural Shootout coming, between me and my Muse, at the ‘I’m O.K. You’re O.K. Coral’? I think this is exciting as all hell!”

“The Theatre of Cruelty and Cultural Warfare is coming to Emerson Center For Arts & Culture”






Rena Victoria’s return in a more fleshy form (ink and paper) is equivalent to Eve returning to Adam in Paradise. A New Genesis is under way, as I own four pages of divine suggestions worthy of the Sistine chapel, such as this one;

“I see you are quite left-leaning. Please do not, in your urban world, be too hard on cattle producers and red-neck women. We are human too!”

Perhaps this is not a commandment from the omnipotent pedagogy, but, it is a wished for course correction that points the prow of my ship towards a more feminine, thus peaceful star. If I don’t want the source of my inspiration flow, to be cut-off, I will do my best to write the most profound apology in the history of the English language. James Joyce, move over.

For a warm up I am going to author a short story about two French lunatics who escape from the booby hatch and hop a steamer to America in 1872. Going West, they buy a cattle ranch in Montana, and are pleased that they fit right in. Here, scary psychotic folks carrying a big gun are held in high esteem. In no time Vince and Art have acquired a reputation.

“Don’t get in these guys way, because they are bad-ass hombres – even though they’re from France.”

Just put a cowboy hat on Gough and Artaud, and we got one hell of a psychological western thriller that tells the world Artists and Mad Men – are human beings too!

Do you think there is a Cultural Shootout coming, between me and my Muse, at the ‘I’m O.K. You’re O.K. Coral’? I think this is exciting as all hell!

Jon Presco

Waiting For Artaud





cooper8The Theatre of Cruelty and Cultural Warfare is coming to Emerson Center For Arts & Culture

Our Beautiful Star Spangled Muse



renap0004Jessie Benton, the daughter of the famous artist, Thomas Hart Benton, believed the Fort Hill Community in Roxbury Massachussetts was from outer space. The famous musician, Mel Lyman had a cult following two blocks up the street from where I lived with two artists, and an LSD dealer who you could find in the Boston Commons. Joe would punch your ticket, and away you ride on the Jefferson Starship.

The year is 1970. Does Jessie and Mel know about the space odyssey Grace Slick and other famous rock musicians have in the works. Did they hear they tried to get Kurt Vonnegut onboard ‘Blow’s Against the Empire’ that is right out of Lyman’s philosophy.

Grace Slick and Jessie Benton. No one has put these two people together before, just as no one put Lucia Joyce and Antonin Artaud together. How about James Joyce and Mel Lyman? Mel instigated an American Renaissance in Boston, a city in New England that is said to be the most English city in America. He founded a newspaper with the monies his wife inherited from Thomas Benton. The Avatar began to invent a new language that Mel believed would transform America from coast to coast – and then the whole world. Mel had declared himself God, an Avatar, a term that comes from India.

Mel was born in Oregon and set out to capture the language and feel of American Folk Music that is a treasure trove of colloquialisms. Mel took from the greats and attempted to create a New Metamorphis. He knew some of Andy Warhol film makers. Here is born the American Avante Guard and Theatre of the Absurd steeped with American Tradition founded by European Rebels and Misfits. Joyce had to give an answer to Edgar Allen Poe, a Gothic Hand across the water – full of Irish Limericks – played on a Hillbillies banjo! For We are Clever Children of Words, and it took clever words and naughty Leperacons to declare We had founded a True Democracy.

One night, it began to snow. I had never walked in the snow, and I put on my black English Bobbies cape and headed up to the tower on Fort Hill. I had become jealous after I beheld Rena emerge from her dorm wearing a long velvet green cape. Why can’t I wear a cape? Wlaking around the campus of the University of Nebraska with Rena Victoria in her cape, was a highlight of my life, for I was famous for making costumes and parading around in public. Above is a photo of me in the cape my girlfriend Gloria made for me.

Yesterday, I spoke a silent truth to Rena Victoria, knowing she was reading my letter.

“Rena, I never stopped loving you. I could not because you were ‘The One’ I was meant to spend the rest of my life with. We had so much beautiful work together. I’m afraid we own a huge mistake. You see, I never asked for anything in my life, and looking down on the breaking waves, I asked for you, the love of my life. Where is she?”

“Here I am!”

When Rena Victoria walked out of that dark doorway, she wanted to say this; “Will you help me?”. However, because she was abused as a child by a selfish alcoholic, she quickly learned the primal rule in an alcoholic household; “Never ask you drunken parent for anything, because you are going to get it, the devious lesson and diatribe about all the things they didn’t get as children, teenagers, and adults. And, somehow this is all your fault – and you are only seven years old.”

“Can I walk with you?” Rena asked me. And, I knew exactly what she was asking me, and why she was disguising her cry for help. To this day I thanks Meher Baba, a Indian Avatar for helping me break my silence, because, here she was, Rena delivered unto me minutes after I summoned her.

“Of course. I was expecting you?”

That said, I felt for a reaction from this beautiful appiration that took steps in unison with my steps. Rena now took a step ahead of me, because she wanted to see my face, when she asked her next question.

“What do you mean by that?”

“I was looking down on the waves crashing on the shore. Yesterday I said goodbye to the woman I thought would be the Love of my Life, and wondered where she was, the true Love of my Life.”

Talk about moments to member. Here we were at three in the morning in LA. This beauty does not know me from Adam. Has she just made the biggest mistake in her life, and, now her life ends here and now?

“Don’t be afraid, I am a harmless romantic!” Again, I felt for this young woman’s fear level, her meeting with the Big Bad Wolf, or her beholding of her Knight in Shining armour.

“Oh!” se said, and I assumed correctly she knew what a romantic was, and, assessed I was harmless.

Just then, my sister Christine and her boyfriend Michel walked up to us. We were staying at our sister’s house, whose husband was Michael’s brother. We decided to take a walk to the Venice Pier, and I let these two lovers goto the end of the pier without me. That’s; when I looked down at the waves, and asked…..for something. And, not just anything. I will love Rena Victoria to my last day on earth, because she is my Gift, my Gift from God, in this case, Meher Baba, for I had become a devote of this Avatar in 1967. From here on I will describe my relationship with this goddess on terms an average citizen of India would understand. I will alas reveal the lessons I gave my Gift, and discrobe our two person Renaissance.

As I made my way up to the tower, I began to get romantic with the sound my boots were making in the freshly fallen snow. I stopped and looked back from where I came. At home is my first painting of Rena. She is walking in the freshly fallen snow in Nebraska – in her green cape. I have taken great care in rendering the dry prairie grass peeking through the snow in a bright wintry landscape. There is a purity here, a continuation of our lessons Rena is receiving on her own, she no longer walking with me. And this is what must be, for, one of the happiest days of my life when I took the train to Boston and stopped in Lincoln to see Rena once again. This was also the unhappiest day of my life, because we said goodbye. This far, and no further.

I stood below the monument to a battle we americans won against the Brits in the our War of Independence. I am looking into the sky and watching the snowflakes fall. Suddenly I hear footsteps approaching, and hear this question.

“What are you doing here. You are not supposed to me here. Get going!”

I can not believe what I am hearing, and size up this little man with his hands in his pocket. I asked him why I must leave a public park and he tells me he is a guard, and, he is guarding Mel and Jessie Lyman who are in my family tree thanks to Christine beholding photo of my painting of Rena Victoria in her green cape. If Christine had not become a famous art, then I doubt Garth Benton would have married my sister. My ex-brother-in law had a daughter named Jessie from her married to the actress, Ali McBride. This name is a family tradition.

“Are you carrying a gun I asked Paul Williams.
“Yes I am.” was the reply.
“And you are prepared to shoot me, if you don’t get your way?”

From Rena’s letter come these words, to my rescue. For since the day I met her, she has saved my life a thousand times. The love I will always have for her is my resolve, to go forward no matter how dark and afraid you might feel. And I was fearless because the worst thing in my life had already happened to me. I lost her.

“Here I am!”

“My day walks are beautiful, winter is beautiful. Life can be beautiful, sometimes. The winter here is my friend. Out with my dogs I spotted wolf tracks!”

The Summer of Love ended in disaster. The Gathering of the Tribes, is now a dispersion. Free Love is now a Long Goodbye. This was the main lesson we shared in our little Renaissance as we went our way in different directions.

“I am no longer young and pretty.” My Muse informs me. Then she give me a profound apology. No one has ever appigzed to me for anything, least for something that happened forty-four years ago. And this apology is as fresh as new snow.

“Greg, I want you to know & listen. I apologize for being an abusive girl who our paths crossed in 1970. I had come out of a dark and dangerous place, and you helped me.”

There it is! Do you see it? “Help me!”

We are not immortals. If you poke us, we bleed. And we grow old. And we die. Then, comes the end of our story. And if we are lucky, we will be remembered. If we are innocent, we will be forgiven as we lie on our death-bed. But surely death is coming. And death leaves no tracks in the snow. But, what of Love? Does it last………forever?

Rena and Greg! Have we come together to give the world an answer? Have we come to dance, the last dance? Do we dare attend our own Wake, from a safe distance, or very near. Will I be with Rena Victoria watching her did in her death-bed?

Rena sent me a poem she wrote in 1971. ‘All Winter Long’ She is eighteen.

“All winter long I watched the world through silver splinters
But now……
The warm-weather workmen come;
bearing the final strategem on their backs.”

This beautiful snow maiden loves the winter for its solitude. For dreams of owning a perfect love, fall upon a lonely heart. And never is this love like any other love.

Like snow flakes, we descend to earth. And in the spring, we melt away. I am but one pall-bearer come to bear beauty on my back, and mourn for our secret conspiracy, that can not be told, until, it is over. And it is never over.

The three artist that God put on this earth to accompany my Gift, are gone. Alone, I alone, get a glimpse of her, our beloved Star Spangled Muse, her gossamer wings, whispering, as she comes to bear our creative collective heart, to a finer place.

Jon Presco

Williams created the first national US magazine of rock music criticism Crawdaddy![1] in January 1966[2] on the campus of Swarthmore College with the help of some of his fellow science fiction fans (he had previously put out some science fiction fanzines).[3] The first issue was ten mimeographed pages written entirely by Williams.[4][5] He left the magazine in 1968 and reclaimed the title in 1993, but had to end it in 2003 due to financial difficulties.

He was also the author of more than 25 books, of which the best-known are Outlaw Blues, Das Energi, and Bob Dylan: Performing Artist, the acclaimed three-part series. Williams was a leading authority on the works of musicians Bob Dylan, Brian Wilson, and Neil Young, and science fiction writers Philip K. Dick (serving as the executor of his literary estate)[6] and Theodore Sturgeon. His last book was The 20th Century’s Greatest Hits (a “Top 40” list that includes movies, books & other documents).[7]

In 1981 he edited and published, with David G. Hartwell, the first book edition of The Universal Declaration of Human Rights, with a foreword by Jimmy Carter

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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