Alex Grey

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Alex Grey
Grey in 2013
Born (1953-11-29) November 29, 1953
Columbus, Ohio, U.S.
Alma materSchool of the Museum of Fine Arts at Tufts
Known forPainting, illustration
Notable workThe Chapel of Sacred Mirrors
MovementVisionary art, psychedelic art
SpouseAllyson Grey
Websitewww.alexgrey.com

Alex Grey (born November 29, 1953) is an American visual artist, author, teacher, and Vajrayana practitioner known for creating spiritual and psychedelic artwork such as his 21-painting Sacred Mirrors series.[1] He works in multiple forms including performance art, process art, installation art, sculpture, visionary art, and painting. He is also on the board of advisors for the Center for Cognitive Liberty and Ethics, and is the Chair of Wisdom University's Sacred Art Department. He and his wife Allyson Grey are the co-founders of The Chapel of Sacred Mirrors (CoSM), a non-profit organization in Wappingers Falls, New York.[2]

Early life and education

Grey was born Alexander Velzy on November 29, 1953, in Columbus, Ohio.[3] His father was a graphic designer and artist.[3] Grey was the middle child.[4] He attended the Columbus College of Art and Design for two years before dropping out.[5] Grey went on to study art at the School of the Museum of Fine Arts at Tufts in Boston in 1975.[6][7] At the end of art school, Grey met his wife Allyson at a party where they both ingested LSD and later bonded over the experience.[6] He reported that the LSD was initially given to him by his professor.[6]

Career

A viewer in front of Grey's art in 2007

Grey learned anatomy by working to prepare cadavers for dissection at Harvard Medical School's anatomy department, a position he held for five years.[7] He worked as a medical illustrator for approximately ten years in order to support his studio art practice.[3] Grey also taught anatomy and figure sculpture at New York University[7] for ten years.[4] Grey is best known for his psychedelic paintings and illustrations.[1] In 1986, Grey's artwork was exhibited at the New Museum in New York City.[1]

Alex and Allyson Grey have worked collaboratively and have openly supported the use of entheogens.[1] Mending the Heart Net, an interactive installation artwork by Alex and Allyson Grey, was displayed at Baltimore's American Visionary Art Museum in 1998–99 as part of the exhibition "Love: Error and Eros".[8]

In 1999, the Museum of Contemporary Art San Diego held a mid-career retrospective of Grey's work titled "Sacred Mirrors: The Visionary Art of Alex Grey".[9] That same year, Grey was noticed by guitarist Adam Jones of the rock band Tool, who later featured his artwork on their albums Lateralus, 10,000 Days,[7] and Fear Inoculum.

Illustrations created by Grey have been selected to appear on albums for musical groups such as the Beastie Boys, Nirvana,[3] Meshuggah,[10] and The String Cheese Incident.[11] Newsweek magazine and the Discovery Channel have featured his artwork. His images have been printed onto sheets of blotter acid[12] and have been used on flyers to promote Rave events.[4]

Grey's artwork has been exhibited worldwide, including at Feature Inc., Tibet House US, Stux Gallery, MoMA PS1, the Outsider Art Fair, the Grand Palais in Paris, and the Sao Paulo Biennial in Brazil.[4] Grey has been a keynote speaker at conferences in Tokyo, Amsterdam, Basel, Barcelona, and Manaus.[4] In the 2012 book Psychedelia, author Patrick Lundborg credits Grey as "the leading psychedelic artist of today, and also one of the foremost proponents of Visionary Art as a style."[13]

Since 2020, the Greys have hosted a podcast about religion, science, visionary art, nature, meditations, and full-moon ceremonies. The pair has interviewed artists, philosophers, YouTubers, musicians, and PhD candidates.[14]

The Chapel of Sacred Mirrors

Inside the Chapel of Sacred Mirrors

Grey founded the Foundation for Sacred Mirrors, a 501(c)(3) organization, as a place to permanently display the Chapel of Sacred Mirrors. Additionally, he created the Church of Sacred Mirrors (CoSM).

The CoSM provides a space for meditation and worship; visitors can also admire Grey's artwork and writings, as well as works by invited artists. According to the CoSM's website, "The mission of CoSM is to build an enduring sanctuary of visionary art to inspire a global community." Located in Wappinger, New York, visitors can explore 40 acres featuring art by Alex Grey, Allyson Grey, and Amy Senn, among others. Murals by Grey and others are in the cafeteria. The property also includes a 10-bedroom Victorian guest house decorated with visionary art. Much of Grey's work is displayed in Entheon, a converted carriage house, which the Greys are fundraising to complete. Visitors enter through bronze doors inscribed with "Creating a Better World" by Grey.[15] While in Entheon, visitors can also admire Grey's works Kissing, Copulating, Pregnancy, Birth, Gaia, Net of Being (featured by the band Tool), and Nursing.

Grey's project the Chapel of Sacred Mirrors first opened to the public in Chelsea, New York, in 2004 and drew visionary and psychedelic art fans to the site for four years until its closure in December 2008.[1] The CoSM featured 20 life-size paintings of standing human figures Grey created in the early 1980s.[1] The Greys reopened CoSM in Wappingers Falls, New York, a community within Hudson Valley.

Painting

Alex Grey painting in 2007

Grey's paintings are a blend of sacred art, visionary art, postmodern art, and psychedelic art. He is best known for his paintings of glowing anatomical human bodies, images that "x-ray" the multiple layers of reality.[2] His art is a complex integration of body, mind, and spirit. The Sacred Mirrors, a life-sized series of 21 paintings, took 10 years to complete, and examines in detail the physical and metaphysical anatomy of the individual. "The inner body is meticulously rendered - not just anatomically precise but crystalline in its clarity".[16] Many of his paintings include detailed representations of the skeleton, nervous system, cardiovascular system, and lymphatic system. Grey applies this multidimensional perspective to paint the universal human experience. His figures are shown in positions such as praying, meditating, kissing, copulating, pregnancy, birth, and death.

Grey's work incorporates many religious symbols, including auras, chakras, and icons with geometric shapes and tessellations in natural, industrial, and multicultural situations. Grey's paintings are permeated by an intense, subtle light.

"It is the light that is sublime in Grey's oeuvre - which is the most important innovation in religious light since the Baroque - and that makes the mundane beings in them seem sublime, in every realistic detail of their exquisite being".[16]

His highly detailed paintings are spiritual and scientific in equal measure, revealing his psychedelic, spiritual, and supernatural view of the human species.[17]

In 2002, Holland Cotter, New York Times art critic, wrote, "Alex Grey's art, with its New Age symbolism and medical-illustration finesse, might be described as psychedelic realism, a kind of clinical approach to cosmic consciousness. In it, the human figure is rendered transparently with X-ray or CAT-scan eyes, the way Aldous Huxley saw a leaf when he was on mescaline. Every bone, organ and vein is detailed in refulgent color; objects and space are knitted together in dense, decorative linear webs."[18]

Writing

In 1990, Grey published a large-format art book, Sacred Mirrors: The Visionary Art of Alex Grey. The book included essays on the significance of Grey's work by Ken Wilber, and by New York art critic, Carlo McCormick.[19]

Grey's The Mission of Art, a philosophy of art,[5] originally published in 1998 with a foreword by Ken Wilber, was reissued in 2017.[20] The book traces the evolution of human consciousness through art history, explores the role of an artist's intention and conscience, and reflects on the creative process as a spiritual path. He promotes the mystical potential of art and argues that the process of artistic creation plays an important role in the enlightenment of both the artist and the broader culture.[21]

In Transfigurations, published in 2001, Grey addresses his portrayals of light bodies, performance works, his collaborative relationship with Allyson Grey, and their quest to build a Chapel of Sacred Mirrors.[22]

Sounds True has released The Visionary Artist, a CD of Grey's reflections on art as a spiritual practice.

Grey co-edited the book, Zig Zag Zen: Buddhism and Psychedelics (Chronicle Books, 2002, reprinted by Synergetic Press, 2015).[23]

Alex Grey has published a 10-volume journal featuring his own artistic works and those of other visionary thinkers and philosophers.

Film

As an advocate for sacred art, Grey was the subject of the 2004 documentary ARTmind: the healing potential of sacred art.

Grey and the Chapel of Sacred Mirrors gallery in New York City were featured in the 2006 documentary CoSM The Movie, directed by Nick Krasnic.[24]

Grey appeared in the 2006 film Entheogen: Awakening the Divine Within, a documentary about rediscovering an enchanted cosmos in the modern world.[25]

He also appeared in the film DMT: The Spirit Molecule, in which he talked about the importance of the substance DMT in the past and present world, as well as describing some of his personal experiences with the substance and how it influenced his painting.

Grey appeared in the 2016 documentary film Going Furthur.[26]

Personal life

In 2008, the San Francisco Chronicle reported that Grey lived in New York City with his wife, painter Allyson Grey. They have one daughter, Zena Grey.[6] Grey is a member of the Integral Institute, formed by his friend Ken Wilber.

Controversy

Necrophilia (1976)

Grey is said to have had sex with a mutilated female corpse while working at a morgue in March 1976.[27][28][29][30][31][32] This was part of his controversial performance art piece Necrophilia and was photographed by his wife Allyson Grey.[27][29][30][31][32][28] The story was subsequently described in 1981 and thereafter and a recreated photograph of the act was distributed in several publications, including in WET Magazine and High Performance Magazine among others, with authors including Lewis MacAdams, Linda Frye Burnham, and Grey himself.[27][29][30][31][32][28] Following revelations during a subsequent high-dose LSD trip, Grey described the act as "probably the worst thing I've ever done" and as feeling "disgraced and disgusted with myself" for it, deciding from then on to do only positive rather than negative or harmful works.[28][29][30] In his 1998 book The Mission of Art however, Grey wrote that he does not regret his early "dark works" like Necrophilia, as they pushed him towards more virtuous work.[28]

Grey's disclosure of Necrophilia (1976) quickly followed American artist John Duncan's similar performance art piece Blind Date (1980), in which Duncan described having sex with a female corpse in Tijuana, Mexico and released an audiotape of the act.[27][33][31][32] Subsequently, MacAdams published a pamphlet called Blind Date (1981) that detailed both Duncan's and Grey's works involving sex with corpses.[30] The art community is said to have been horrified by Duncan's Blind Date (1980) piece.[34] As a result of the piece, Duncan was informally banned from the art community, shunned even by his close friends, and eventually relegated to self-imposed exile outside of the United States.[35][36][37][34] There were also attempts to have him legally prosecuted.[33][36] Women were said to have felt particularly violated by Duncan's work.[34][33] Conversely, although Grey describes his early dark works like Necrophilia (1976) as likewise having resulted in serious professional consequences, his own piece has been much less well-known, and Grey nonetheless went on to become a renowned visionary artist, for instance with his subsequent Sacred Mirrors (1979–1988) works.[28][27]

In the media

Grey in 2007 with one of his artworks

The Viking Youth Power Hour interviewed Alex and Allyson Grey about the role of sacred art, the holy shenanigans of Burning Man, and the development of his process.[38]

In Variable Star, a 2006 science fiction novel written by Spider Robinson based on a story outline by Robert A. Heinlein, Robinson devotes several pages to his protagonist's discovery of Grey's Sacred Mirrors and Progress of the Soul series, and to using them to enhance meditation.[39]

Grey has been on The Joe Rogan Experience podcast several times, including in 2012,[40] 2013,[41] and 2016.[42]

Publications

References

  1. Johnson, Ken (December 20, 2008). "Turning On, Tuning In and Painting the Results (Published 2008)". The New York Times. ISSN 0362-4331. Retrieved January 17, 2021.
  2. Zeiba, Drew (June 13, 2018). "In upstate New York, an ecstasy-inspired psychedelic temple rises". The Architect's Newspaper. Archived from the original on June 21, 2018. Retrieved January 17, 2021.
  3. Lyttle, Thomas (November 29, 2002). "Interview With Alex Grey". High Times. Archived from the original on November 30, 2019. Retrieved January 17, 2021.
  4. Ernest, Nuala (August 4, 2013). "Alex Grey: Net of Being". Issuu. Raw Vission. Retrieved January 17, 2021.
  5. Rogers, Clay Allen (April 10, 2019). "Alex Grey: Art influenced by psychedelics". The Aggie. Archived from the original on April 11, 2019. Retrieved January 17, 2021.
  6. David Ian Miller (March 24, 2008). "LSD Helped Forge Alex Grey's Spiritual, Artistic and Love Lives". San Francisco Chronicle "Finding My Religion" series.
  7. Grosso, Chris (February 12, 2019). "Visionary Art, Psychedelics, Tool: The Mystical Life of Alex and Allyson Grey". Revolver. Archived from the original on February 15, 2019. Retrieved January 17, 2021.
  8. Remesch, Karin (May 17, 1998). "American Visionary Art Museum". Baltimore Sun. Archived from the original on October 21, 2020. Retrieved January 18, 2021.
  9. "The Artist as Visionary". Los Angeles Times. May 8, 1999. Archived from the original on January 22, 2021. Retrieved January 18, 2021.
  10. "10 old school album cover artists, you should know about". Noizr. May 8, 2015. Archived from the original on August 9, 2020. Retrieved January 19, 2021.
  11. Pareles, Jon (March 18, 2004). "A Night To Honor Bands That Jam (Published 2004)". The New York Times. ISSN 0362-4331. Retrieved January 19, 2021.
  12. Sexton, Jason S. (Winter 2015). "Jesus on LSD: When California blotter acid got religion". Boom. 5 (4): 78–84. doi:10.1525/boom.2015.5.4.78 – via University of California Press.
  13. Lundborg, Patrick, Psychedelia, An Ancient Culture, A Modern Way of Life, 2012, Lysergia, pg 421
  14. "Podcast". CoSM, Chapel of Sacred Mirrors. Retrieved August 2, 2022.
  15. "Entheon". CoSM, Chapel of Sacred Mirrors. Retrieved August 2, 2022.
  16. Kuspit, Donald; Castiglione, Joe (2000). "Alex Grey's Mysticism". In Van Proyen, Mark (ed.). Redeeming Art: Critical Reveries. Allworth Press. ISBN 9781581150551.
  17. Outsider Art Sourcebook Archived September 21, 2018, at the Wayback Machine, ed. John Maizels, Raw Vision, Watford, 2009, p.82
  18. Cotter, Holland, The New York Times, Alex Grey Tibet House review, October 4, 2002
  19. Grey, Alex (September 1, 1990). Sacred Mirrors: The Visionary Art of Alex Grey. Inner Traditions/Bear. ISBN 978-0-89281-314-8.
  20. Grey, Alex (May 23, 2017). The Mission of Art. Shambhala Publications. ISBN 978-0-8348-4086-7.
  21. "Reviews: The Mission of Art". Publishers Weekly. November 30, 1998. Archived from the original on January 22, 2021. Retrieved January 18, 2021.
  22. Grey, Alex (November 9, 2004). Transfigurations. Inner Traditions/Bear. ISBN 978-1-59477-017-3.
  23. Rico, Diana (January 4, 2016). "A Book of Art and Essays Explores Psychedelics as a Spiritual Technology". Hyperallergic. Retrieved January 17, 2021.
  24. Grey, Alex (2006). CoSM, the Movie: Chapel of Sacred Mirrors. Docurama. ISBN 978-0-7670-9192-3.
  25. Mann, Rod (Director) (2006). Entheogen: Awakening the Divine Within (DVD video). Critical Mass Productions. OCLC 181630835. Archived from the original on November 11, 2012. Retrieved November 19, 2012.
  26. "Go Furthur at CoSM | Blog | Alex Grey". www.alexgrey.com. Archived from the original on April 17, 2021. Retrieved April 20, 2021.
  27. Gonzalez Rice, Karen (September 29, 2016). Long Suffering: American Endurance Art as Prophetic Witness. University of Michigan Press. p. 162. ISBN 978-0-472-05324-7. Retrieved May 6, 2026. [...] 90. In response to an article about Blind Date in the Los Angeles publication Wet, artist Alex Grey wrote a letter to the editor describing his performance Necrophilia (1976), in which, photographed by his wife, he had sex with a mutilated corpse. He wrote, [...] ["]A day has not gone by that I haven't thought of the necrophilia piece" (Alex Grey, "More Sex with the Dead," Wet, July–August 1981, n.р.). [...] For more on Alex Grey, see Lewis MacAdams, "It Started Out with Death," High Performance 5, no. 3 (Spring–Summer 1982): 43-49.
  28. Grey, Alex (1998). The Mission of Art. Shambhala. pp. 50–53. ISBN 978-1-57062-396-7. Archived from the original on November 8, 2021. Retrieved May 6, 2026. My Shadow: My own works that I consider most disturbing and morally questionable center around the use, or misuse, of bodies at a medical school morgue where I worked more than twenty years ago. I did a variety of "performances" using cadavers. [...] Around the same time, I made a painting of myself lying on top of a dead woman, entitled Necrophilia. [...] Around this time, in 1976, while sitting in my studio one night, a vision of an ominously menacing courtroom appeared. Before a judge I could not see and an angry jury, I faced a woman who accused me of trespassing her body in my morgue work. I tried to explain that I was making art, but there was absolutely no forgiveness. The judge told me that from now on I must do more positive work, putting me on lifetime probation. These visions were a turning point for me that helped me realize that I could spend a lifetime in negativity and darkness or begin to uplift my focus. I came to see those performances as a misuse of innocent people. Even if they were dead, they did not agree to such actions. [...] [...] At the time I felt I was courageously exploring the realm of the ultimate polarity, that of life and death, but it seems that I was also uncovering my own lack of values and understanding of good and evil. [...] My attitude regarding this early "shadow" work is ambivalent, if I had not performed those dark works, I would not have been inwardly pushed toward a more numinous light. [...]
  29. Lewis MacAdams (1982). "It Started With Death: Lewis MacAdams on Boston Artist Alex Grey". High Performance Magazine. Vol. 5, no. 1/2. pp. 43–49. Archived from the original on May 6, 2026. When Grey came back from the north he got a job in a morgue, job he worked periodically from 1975 through 1979, utilizing the morgue's "resources" for several of his pieces. [...] Perhaps the climax of his death pieces came in March 1976 in a piece called Necrophilia. A painting shows Grey making love with a dead woman's body. [...] How did you feel during Necrophilia? "My state of mind was fear," Grey replied. Questioning Allyson, Grey's wife and photographer or active participant in his work: Did you have jealousy about the Necrophilia piece? "No," Allyson replied, "because I knew it wasn't about sex, but about exploration." Necrophilia, 1976, oil on linen. [...] But why did you choose a corpse that was so mutilated? This one seems to have had a lobotomy. "Because it horrified me, and that was what I wanted to experience. [...] He began to feel terrible, he admits, about the way he was relating to bodies in the morgue, [...] ["]It was probably the worst thing I've ever done.["] [...]
  30. Lewis MacAdams (1981). Blind Date. Santa Barbara, California: Am Here Books / Immediate Editions. Alex Grey is a young performance artist from Columbus, Ohio who now lives in Boston. [...] In 1975, Grey says, he found a job in a morgue doing embalming and other preparation of bodies. [...] On March 16, 1976, Grey and his wife Allyson, herself a performance artist, a photographer, and what Grey calls "an active participant in my craziness" snuck into the morgue. While his wife took photographs, Grey picked out a female corpse, one missing its brains and the top half of its skull. Why one that had been so mutilated? "I guess because it horrified me. I guess that's what I wanted to experience." Then he and the dead woman made love. [...] "Did you come in the corpse?" I asked Alex. There was a pause at the other end of the line. "I'd rather not talk about that. [...] As he spoke I stared down at the photo his wife had taken while he was on top of the body. "You appear to be grinning," I ventured. "I wasn't really smiling," Grey insisted. "It was just a wierd camera angle." [...] I was so sorry, disgraced and disgusted with myself for having used her body for my own work that I cried and begged forgiveness. [...]
  31. Linda Frye Burnham (1986). "High Performance, Performance Art, and Me". The Drama Review. 30 (1). Cambridge University Press: 15–51. doi:10.2307/1145710. In only one case am I guilty of "censorship." It was a piece I found morally objectionable: the artist played to a festival audience an audiotape of sounds he said were a recording of his sexual intercourse with a woman's corpse in Mexico. [...] In fact, I did later publish a story about the work of Alex Gray, another artist who performed the same act, but the documentation of his Necrophilia was dominated by what transpired in his psyche afterward—what HAPPENS to a man who fucks a corpse and calls it art. For this artist, it was a psychic event in which he felt he was put on trial for the violation of a human spirit and was sentenced to make positive art for the rest of his life.
  32. Grey, Alex (1981). "More Sex With The Dead". WET. No. 32. p. 9. Archived from the original on September 5, 2008. Dear WET, I read with sadness and some surprise your "Sex with the Dead" article in March/April 1981 WET. In 1976, I had access to a morgue and did a piece called Necrophilia. [...] The necrophilia piece came to me after having a dream that I was fucking a seductive and beautiful living woman who rapidly aged and died as we were making love. She clamped her arms around me and the sides of the bed became a coffin enclosure. [...] After doing the morgue pieces I felt less afraid of death, but more afraid of the moral and karmic consequences of my actions. [...] In 1979 [...] I met the soul of the woman that I had sex with [while on LSD]. She was extremely angry and screaming at me saying — didn't I know I was violating her and that she was a person just as I was. [...] I guess, during the past couple of years, I have come to regard the body as a sacred thing as well as a piece of meat. Alex Grey. Boston.
  33. Gonzalez Rice, Karen (January 2, 2014). "No Pictures: Blind Date and Abject Masculinity". Performance Research. 19 (1): 15–24. doi:10.1080/13528165.2014.908080. ISSN 1352-8165. In the central action of John Duncan's controversial performance Blind Date (1980), the artist had sex with a female corpse. [...] The artist's horrific and deeply despairing action tested the limits of his psychological and physical endurance. [...] Duncan audio-recorded his sexual encounter, and he photographed a later action in the performance, a vasectomy procedure. [...] Confronted with this confusion of aggression and vulnerability, perpetration and victimhood, Duncan's friends in the Los Angeles feminist community condemned him as a rapist, attempted legal prosecution, and effectively put an end to his career in the United States.7
  34. Fusco, Coco (June 2013). "Art World Voodoo". The Brooklyn Rail. His name was John Duncan and his piece was called "Blind Date." He had pulled off weird and violent stunts before-such as showing up at Paul McCarthy's door with a mask and a gun. He confessed his sinful act during a performance festival and he had an audiotape to prove he wasn't making things up. He said he was kicked out of a bunch of porn shops for asking how to find a corpse for sex before someone sold him a phone number in Mexico, et voilá, he got his wish. His audience of fellow artists was horrified—the women, I was told, felt particularly violated but no one liked the feeling that they were somehow complicit as witnesses. The decision to suppress the performance appears to have been unanimous. Duncan managed to score airtime to defend himself on a local public radio show, but he was now a pariah. He soon left the United States for good.
  35. Harvey, Doug (July 25, 2007). "Corpsefucker Makes Good". LA Weekly. Most unnerving was an account in the March–April 1981 issue, describing a performance-art piece by one John Duncan, who had bribed a Tijuana mortician to let him have sex with a female corpse, recording the act on audiotape. Afterward, he had gotten a vasectomy "so that the last potent seed I had," he recounted, "was spent in a cadaver." Blind Date immediately became a personal touchstone in sorting out what was possible in the name of Art. Ten years later, when I wound up at UCLA grad school, I asked around about Duncan and his work and was shocked at the mostly blank stares with occasional frosty silences that constituted the response. Blind Date had proved to be one of the most violently polarizing works in L.A. art history, eventually sending Duncan into a self-imposed exile to Japan, Amsterdam and, finally, Italy, where he resides to this day. His critics had seemingly succeeded in erasing him from the equation, while elevating Chris Burden's also-difficult oeuvre to canonical status.
  36. Wlassoff, Boris (March 2002). "[Interview by Boris Wlassoff for revue & corrigée]". revue & corrigée (in Italian). No. 51. How was BLIND DATE received by the world of art? With hostility, to a degree I was completely unprepared for. Several of my closest friends tried to arrange for me to be extradited to Mexico and arrested on necrophilia charges. When that effort proved to be legally formidable, they decided to threaten anyone publishing or showing my work with boycotts, which effectively banned my work in the US for several years. With other friends, it created a sense of separation, a wall that in some cases still remains. I felt, and was, abandoned by every one of the people I felt closest to. Some claimed that the cadaver had been raped, [...]
  37. "John Duncan". Nicodim Gallery. March 4, 2018. Blind Date [(1980)] transformed [John Duncan] into a Los Angeles pariah. The Los Angeles art community saw to it his work was informally banned here—even his closest friends turned against him—and Duncan exiled himself to Japan for the years following.
  38. "The Vikings Chat with Alex & Allyson Grey". Viking Youth Power Hour. Archived from the original on September 27, 2007.
  39. Heinlein, Robert; Robinson, Spider (September 2006). Variable Star (1st ed.). New York: Tom Doherty Associates. pp. 170–173. ISBN 0-7653-1312-X.
  40. "Joe Rogan Experience #274 - Alex Grey". YouTube. February 7, 2012. Retrieved May 6, 2026.
  41. "Joe Rogan Experience #359 - Alex Grey". YouTube. May 22, 2013. Retrieved May 6, 2026.
  42. "Joe Rogan Experience #797 - Alex & Allyson Grey". YouTube. May 10, 2016. Retrieved May 6, 2026.

Further reading