Day 359- Paul Duhem- Locked Doors

It’s Day 359 and it’s Christmas Day!  Merry Christmas to you all.  I had a great time doing today’s piece and now I have to cook a bunch of food for my husband, brother and myself and try to have a nice relaxing day.  Please join me in honoring Paul Duhem today!  I wanted to honor his style, but also honor today’s holiday. 🙂

Paul Duhem

Paul Duhem

Paul Duhem

Paul Duhem

Paul Duhem was born in Blandain, Belgium. He left school at 14 and worked as a farmhand for various agricultural concerns. During the Second World War he went to Germany, where he laid rails for the railways. Going to France at the end of the war, he was arrested for his collaboration with the Germans. But not being in full possession of all his faculties, he was transferred from prison to a psychiatric hospital before being employed as a labourer in farms in the region.

In 1977 he was admitted to a home where he did horticulture. Twelve years later, at the age of 70, Paul Duhem started to draw within the framework of a

Paul Duhem

Paul Duhem

workshop. He devoted himself to this activity, continuing until he died.

The human figure is a recurrent motif in his compositions. He drew the same face, which can be interpreted as a self-portrait, over and over again in an obsessive manner, declining it in series, introducing subtle variations in shape, rhythm and color.

Biography above is from Art Brut.com’s website.

Paul Duhem had been institutionalized for more than 40 years and was well into his seventies when he established a grueling quota for himself. He made up his mind that he wanted to produce six artworks a day, every day, for the remainder

Paul Duhem

Paul Duhem

of his life. Each morning after taking breakfast at a hospital for mental patients in southern Belgium, he brought out his crayons and jars of paint and crayons and, in the three or four hours before lunch, produced three new drawings. Then, in the hours between lunch time and dinner, he turned out three more works. Duhem’s subjects mostly took just two forms — a sad-eyed homme whom everybody understood to be Paul himself, and also the locked doors that he encountered everywhere in the mental institution.

Duhem was born in Blandain, a farming region. Because his parents were too poor to care for all their children, he was mostly

Paul Duhem

Paul Duhem

raised by grandparents. He attended school until his fourteenth year, and then left to work on a farm. Duhem was serving in the Belgium Army during World War II when, after being wounded and suffering shell shock, he was taken captive and held for two years in a German concentration camp.

Duhem finally resumed the life of a farmhand, but the war and prison years had taken a toll on his mentalstability. Diagnosed as schizophrenic, he was admitted to a mental institution in 1977. Because of his years as a farm worker, Duhem was given assignments as a gardener and groundskeeper at the institution.

Paul Duhem

Paul Duhem

In 1990, after beginning to show fragility of health, he was retired as a day worker. Soon after, he started producing colored drawings, at first turning out works with a variety of subjects, including birds, floral still-lifes and windmills, and then gradually limited his art to his own visage and the locked doors. He was 81 when he died in the summer of 1999.

Duhem’s work is widely admired art brut enthusiasts today, and is to be found

Paul Duhem

Paul Duhem

in nearly every significant museum collection of art brut in Europe. A large Paul Duhem museum show was presented in Brussels in 2001. The show then traveled to museums in France and The Netherlands.

Biography is from Dean Jensen Gallery’s website.
I hope you enjoy my piece today!  I had a great time painting it.  I will see you tomorrow on Day 360.  Then only 5 paintings left.  I can hardly believe it.
Best,
Linda
Santa- Tribute to Paul Duhem Linda Cleary 2014 Acrylic on Canvas

Santa- Tribute to Paul Duhem
Linda Cleary 2014
Acrylic on Canvas

Side-View Santa- Tribute to Paul Duhem Linda Cleary 2014 Acrylic on Canvas

Side-View
Santa- Tribute to Paul Duhem
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Santa- Tribute to Paul Duhem Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Santa- Tribute to Paul Duhem
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Santa- Tribute to Paul Duhem Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Santa- Tribute to Paul Duhem
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Santa- Tribute to Paul Duhem Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Santa- Tribute to Paul Duhem
Linda Cleary 2014
Acrylic on Canvas

Day 357- Hannelore Baron- A Complete Thing

It’s Day 357 and I had a very busy day with filming and also have a holiday party this evening.  I was still able to get today’s piece done.  I wish I had more time to focus on it.  Please join me in honoring Hannelore Baron today.

Hannelore Baron

Hannelore Baron

Hannelore Baron 1978

Hannelore Baron 1978

Hannelore Baron (June 8, 1926 – April 28, 1987) was an artist whose work has become known for the highly personal, book-sized, abstract collages and box constructions that she began exhibiting in the late 1960s. Born in Dillingen/Saar, Germany, she and her family fled persecution in Nazi Germany, illegally crossing the border into Luxembourg in 1939. In 1941 Baron’s family sailed from Lisbon to New York and setteled in the Bronx, New York City.

By the time she graduated from the Staubenmiller Textile High School in Manhattan, Baron was avidly reading eastern philosophy, making increasingly abstract paintings and probably already experiencing the symptoms of claustrophobia and depression that would lead to a series of nervous breakdowns throughout her life. In the late 1950s Baron combined a variety of techniques and began making her first collages. Occupied with raising two children (daughter Julie and son Mark) and beset by psychological problems, Hannelore nevertheless exhibited her work and in 1969, the year of her one-person exhibition at Ulster County Community College, she began to make the box constructions that would become her signature. In the early 1970s, Baron established a studio and devoted her time and energy completely to her artwork until her death in 1987. Hannelore Baron was self-taught.

Although her compositions are completely abstract, she considered them to be both personal and political statements. In her own words,

Everything I’ve done is a statement on the, as they say, human condition…the way other people march to

Hannelore Baron- Untitled Collage 1977

Hannelore Baron- Untitled Collage 1977

Washington, or set themselves on fire, or write protest letters, or go to assassinate someone. Well, I’ve had all the same feelings that these people had about various things, and my way out, because of my inability to do anything else for various reasons, has been to make the protest through my artwork… H.B.

Throughout the 1970s and 1980s her work garnered critical acclaim, along with gallery and museum exhibitions in the United States, Europe and Japan. In 1995, her work was the subject of a one-person exhibition at the Solomon R. Guggenheim Museum in New York. In 2001 her work was the subject of a traveling exhibition curated by Ingrid Schaffner and organized by the Smithsonian Institution Traveling Exhibition Service. Her works can be found in the collections of The Museum of Modern Art, New York; the conSolomon R. Guggenheim Museum, New York; the Whitney Museum of American Art, New York; the Los Angeles County Museum of Art, Los Angeles, The Art Institute of Chicago, Chicago, the San Francisco Museum of Modern Art, San Francisco, the Museum of Fine Arts, Boston; and Israel Museum, Jerusalem.

Biography is from wikipedia.

Below bio is from artist’s website. www.hannelorebaron.net

Hannelore Baron

Hannelore Baron

Hannelore Baron practiced an art of concealment and protection. Out of rough and common materials she fashioned constructions, drawings and collages that transmuted the painful experiences of her life into indelible images of the darkness and mystery of being. Baron was born Hannelore Alexander in Dilligen, a small town in the Saar region of Germany in 1926. Her father, Julius, was a Jewish textile merchant, and almost as soon as Hitler came to power, the family began to feel the ominous consequences. Hannelore and her brother were sent to a special school for Jews only. On Kristallnacht, the family’s apartment was ransacked and her father beaten. Thus began a period of flight and border crossing that did not end until the family managed to emigrate from Lisbon to New York in 1941. In the midst of all this, one of Baron’s most vivid memories was that of a brief return to her family’s wrecked apartment, where the bloody handprints of her father were still visible on the walls.

By the time she graduated from the Staubenmiller Textile High School in Manhattan, Baron was avidly reading eastern philosophy, making increasingly abstract paintings and probably already experiencing the symptoms of claustrophobia and depression that would lead to a series of nervous breakdowns throughout her life. On one of her rare forays out, to sketch, she met Herman Baron, a book salesman for the Philosophical Library, and they

Hannelore Baron

Hannelore Baron

married in 1950. The milieu was intellectually rich: Baron’s brother ran a small press and published works by avant-garde writers such as Maya Deren and Henry Miller, and Baron himself soon opened his own bookstore in the Bronx. Isolated by her mental distress, however, Hannelore developed her art without instruction and without direct knowledge of the currents that were changing the art world. Her abstract paintings betray no debt to Rothko, Gorky or Motherwell. But she did manage to visit an exhibition by John Heliker, a friend of Baron’s brother, and the experience was decisive: she saw how collage could combine all aspects of art, from drawing and painting to sculptural manipulation of materials. Over the next three decades, Hannelore would explore the implications of mixed media with depth, subtlety and daring.

Occupied with raising two children (daughter Julie and son Mark) and beset by psychological problems, Hannelore nevertheless exhibited her work and in 1969, the year of her one-person exhibition at Ulster County Community College, she began to make the box constructions that would become her signature. In these works, damaged wood and metal, often tied or nailed together, enclose secrets that can only be guessed at: scraps of

Hannelore Baron

Hannelore Baron

her past, mysterious games without rules, concealed objects. In their rawness and obscurity they form the necessary counterpart to Joseph Cornell’s elegant enigmas. In these works and in her collages, Hannelore was able to convey her sense of the fragility of life, the mythic substratum of human experience, and broader concerns for the environment, the injustices of war, especially the Vietnam conflict, and the physical pain of existence. In 1973, she was diagnosed with cancer and would struggle with various forms of the disease until it took her life in 1987. After her death, Hannelore’s work was the subject of a one-person exhibition at the Solomon R. Guggenheim Museum in New York and, in 2002, a national touring exhibition organized by the Smithsonian Institution. She once remarked of one of her works, “The solution didn’t come only from my head, it was lived out and worked out. It is a complete thing.”

~

I hope you enjoy my tribute today!  It was a therapeutic experience creating it.  Her style is very distinct and hard to emulate because of it’s subtlety, so I tried to get into a mind frame of my own while creating this piece.

I will see you tomorrow on Day 358!

Best,

Linda

Gone- Tribute to Hannelore Baron Linda Cleary 2014 Mixed-Media on Canvas

Gone- Tribute to Hannelore Baron
Linda Cleary 2014
Mixed-Media on Canvas

Side-View Gone- Tribute to Hannelore Baron Linda Cleary 2014 Mixed-Media on Canvas

Side-View
Gone- Tribute to Hannelore Baron
Linda Cleary 2014
Mixed-Media on Canvas

Close-Up 1 Gone- Tribute to Hannelore Baron Linda Cleary 2014 Mixed-Media on Canvas

Close-Up 1
Gone- Tribute to Hannelore Baron
Linda Cleary 2014
Mixed-Media on Canvas

Close-Up 2 Gone- Tribute to Hannelore Baron Linda Cleary 2014 Mixed-Media on Canvas

Close-Up 2
Gone- Tribute to Hannelore Baron
Linda Cleary 2014
Mixed-Media on Canvas

Close-Up 3 Gone- Tribute to Hannelore Baron Linda Cleary 2014 Mixed-Media on Canvas

Close-Up 3
Gone- Tribute to Hannelore Baron
Linda Cleary 2014
Mixed-Media on Canvas

Day 355- Marta Minujin- Everything is Art

It’s Day 355 and I had a blast doing today’s extra bold and colorful piece.  She did so many different forms of art, but I really wanted to do something insanely bright and colorful today.  Please join me in honoring Marta Minujin today!

Marta Minujin

Marta Minujin

Marta Minujín (born January 30, 1943) is an Argentine conceptual and performance artist.

Freaking on Fluo- Marta Minujin

Freaking on Fluo- Marta Minujin

Marta Minujín was born in the San Telmo neighborhood of Buenos Aires. She met a young economist, Juan Carlos Gómez Sabaini, and married him in secret in 1959; the couple had two children. A student in the National University Art Institute, she first exhibited her work in a 1959 show at the Teatro Agón. A scholarship from the National Arts Foundation allowed her to travel to Paris as one of the young Argentine artists featured in Pablo Curatella Manes and Thirty Argentines of the New Generation, a 1960 exhibit organized by the prominent sculptor and Paris Biennale judge.

Her time in Paris inspired her to create “livable sculptures,” notably La Destrucción, in which she assembled mattresses along the Impasse Roussin, only to invite other avant-garde artists in her entourage, including Christo and Paul-Armand Gette, to destroy the display. This 1963 creation would be the first of her “Happenings” – events as works of arts in themselves; among her hosts during her stay was Finance Minister Valéry Giscard d’Estaing (later President of France).

She earned a National Award in 1964 at Buenos Aires’ Torcuato di Tella Institute, where she prepared two happenings: Eróticos en technicolor and

Laberinto Minujinda, 1985- Marta Minujin

Laberinto Minujinda, 1985- Marta Minujin

the interactiveRevuélquese y viva (Roll Around in Bed and Live). Her Cabalgata (Cavalcade) aired on Public Television that year, and involved horses with paint buckets tied to their tails. These displays took her to nearby Montevideo, where she organized Sucesos (Events) at the Uruguayan capital’s Tróccoli Stadium with 500 chickens, artists of contrasting physical shape, motorcycles, and other elements.

Marta Minujin

Marta Minujin

She joined Rubén Santantonín at the di Tella Institute in 1965 to create La Menesunda (Mayhem), where participants were asked to go through sixteen chambers, each separated by a human-shaped entry. Led by neon lights, groups of eight visitors would encounter rooms with television sets at full blast, couples making love in bed, a cosmetics counter (complete with an attendant), a dental office from which dialing an oversized rotary phone was required to leave, a walk-in freezer with dangling fabrics (suggesting sides of beef), and a mirrored room with black lighting, falling confetti, and the scent of frying food. The use of advertising throughout suggested the influence of pop art in Minujín’s “mayhem.”

These works earned her a Guggenheim Fellowship in 1966, by which she relocated to New York. The coup d’état by General Juan Carlos Onganía in June of that year made her fellowship all the more fortuitous, as the new regime would frequently censor and ban irreverent displays such as hers. Minujín delved into psychedelic art in New York, of which among her best-known creations was that of the “Minuphone,” where patrons could enter a telephone booth, dial a number, and be surprised by colors projecting from the glass panels, sounds, and seeing themselves on a television screen in the floor. She was on hand in 1971 for the Buenos Aires premiere of Operación Perfume, and in New York, befriended fellow conceptual artist Andy Warhol.

She returned to Argentina in 1976, and afterwards created a series of reproductions of classical Greek sculptures in plaster of paris, as well as miniatures of the Buenos Aires Obelisk carved out of panettone, of the Venus de Milo carved from cheese, and of Tango vocalist Carlos Gardel for a

Geometria blanda, 2014- Marta Minujin

Geometria blanda, 2014- Marta Minujin

Laberinto Minujinda, 1985- Marta Minujin

Laberinto Minujinda, 1985- Marta Minujin

1981 display in Medellín. The latter, a sheet metal creation, was stuffed with cotton and lit, creating a metaphor for the legendary crooner’s untimely 1935 death in a Medellín plane crash. She was awarded the first of a series of Konex Awards, the highest in the Argentine cultural realm, in 1982.

The return of democracy in 1983, following seven years of a generally failed dictatorship, prompted Minujín to create a monument to a glaring, inanimate victim of the regime: freedom of expression. Assembling 30,000 banned books (including works as diverse as those by Freud, Marx, Sartre, Gramsci, Foucault, Raúl Scalabrini Ortiz, and Darcy Ribeiro, as well as satires such as Absalom and Achitophel, reference volumes such as Enciclopedia Salvat, and even children’s texts, notably The Little Prince by Antoine de Saint Exupéry), she designed the “Parthenon of Books,” and following President Raúl Alfonsín’s December 10 inaugural, had it mounted on a boulevard median along the Ninth of July Avenue. Dismantled after three weeks, its mass of newly-unbanned titles was distributed to the public below.

A conversation with Warhol in New York regarding the Latin American debt crisis inspired one of her most publicized “happenings:” The Debt. Purchasing a shipment of maize, Minujín dramatized the Argentine cost of servicing the foreign debt with a 1985 photo

Laberinto Minujinda, 1985- Marta Minujin

Laberinto Minujinda, 1985- Marta Minujin

series in which she symbolically handed the maize to Warhol “in payment” for the debt; she never again saw Warhol, who died in 1987.

Laberinto Minujinda, 1985- Marta Minujin

Laberinto Minujinda, 1985- Marta Minujin

Minujín has continued to display her art pieces and happenings in the Buenos Aires Museum of Modern Art, the National Fine Arts Museum, the ArteBA festival, the Barbican Center, and a vast number of other international galleries and art shows, while continuing to satirize consumer culture (particularly relating to women). She is well known for her belief that “everything is art.”

Biography is from wikipedia.

I hope you enjoy my piece today.  My eyes hurt just a little after painting it, but I think it came out pretty nice.

I will see you tomorrow on Day 356!

Best,

Linda

 

Laberinto del Arco Iris- Tribute to Marta Minujin Linda Cleary 2014 Acrylic on Canvas

Laberinto del Arco Iris- Tribute to Marta Minujin
Linda Cleary 2014
Acrylic on Canvas

Side-View Laberinto del Arco Iris- Tribute to Marta Minujin Linda Cleary 2014 Acrylic on Canvas

Side-View
Laberinto del Arco Iris- Tribute to Marta Minujin
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Laberinto del Arco Iris- Tribute to Marta Minujin Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Laberinto del Arco Iris- Tribute to Marta Minujin
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Laberinto del Arco Iris- Tribute to Marta Minujin Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Laberinto del Arco Iris- Tribute to Marta Minujin
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Laberinto del Arco Iris- Tribute to Marta Minujin Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Laberinto del Arco Iris- Tribute to Marta Minujin
Linda Cleary 2014
Acrylic on Canvas

 

Day 341- Len Jessome- Need To Create

It’s Day 341 and I really had a great time with today’s painting.  I love the style and somewhat therapeutic effect it had on me.  Please join me in honoring Len Jessome today.  I couldn’t find a photo of him online so I decided to use a self portrait.

Autoportrait- Len Jessome

Autoportrait- Len Jessome

Jesus wouldn't like it - Len Jessome

Jesus wouldn’t like it – Len Jessome

Canadian artist , Leonardo Jessome was born in 1963 in Hamilton, where he lives and works. He left his career in 2000 to devote himself full time to his artistic activity.  Its very singular work is already present in many private collections in North America and Europe.

His work is based on the human condition and man’s place in contemporary society . He painted portraits of rare intensity in a unique graphical style .

His inner demons led him naturally to the raging street art but it’s

Almost Happy- Len Jessome

Almost Happy- Len Jessome

not the bomb attack that the artist but his canvases with brushes in a raw style , powerful and free.

Biography is from Galerie Sylvie’s site.

i have a manic need to create—my work is based on the temporality and fragility of life and all the experiences life may encompass. i use whatever medium is available to express an idea. sometimes i use house paint, industrial rust paint and / or mix these with artists paints, each has a unique property and express ideas differently.
 
I Love You- Len Jessome

I Love You- Len Jessome

flowing industrial paint achieves different results than artists oil. as in life not everything mixes as perfectly as one might hope, exceptions are made to the exclusion of others. as a result my work may patina and change over time.

It is the capturing of the idea that is key. the patina records the passage of

Darkness I Wish I Was Yours- Len Jessome

Darkness I Wish I Was Yours- Len Jessome

time. the style of my work changes often, expanding my awareness and perceptions.

i like that my paintings live in many parts of the world. snippets of my thoughts and feelings scattered around this earth that will remain when i am no longer here.
Len Jessome

Len Jessome

Above is from Len Jessome’s blog.

I hope you enjoy my piece for today!  I will see you tomorrow on Day 342!
Best,
Linda
Always Lurking...-Tribute to Len Jessome Linda Cleary 2014 Acrylic on Canvas

Always Lurking…-Tribute to Len Jessome
Linda Cleary 2014
Acrylic on Canvas

Side-View Always Lurking...-Tribute to Len Jessome Linda Cleary 2014 Acrylic on Canvas

Side-View
Always Lurking…-Tribute to Len Jessome
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Always Lurking...-Tribute to Len Jessome Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Always Lurking…-Tribute to Len Jessome
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Always Lurking...-Tribute to Len Jessome Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Always Lurking…-Tribute to Len Jessome
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Always Lurking...-Tribute to Len Jessome Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Always Lurking…-Tribute to Len Jessome
Linda Cleary 2014
Acrylic on Canvas

Day 338- Josiah Polhemus- A Sober and Amazing Journey

It’s Day 338 and I am super duper excited about today’s artist.  First off, because he happens to be a good friend of mine that not only inspired my very project, but I also have the honor to play with him in my improv group The Incidentalists.  He is such an inspiring and amazing friend in so many ways and I am so glad to know him.  Please join me in honoring Josiah Polhemus today!  Another neat thing is that he wrote his own story below!

 

Josiah Polhemus (at his 365 Painting A Day Art Show!)- I took this photo. :)

Josiah Polhemus (at his 365 Painting A Day Art Show!)- I took this photo. 🙂

Josiah Polhemus

Josiah Polhemus

Josiah Polhemus

I grew up in Palo Alto CA. Born in 1967 to parents who were both teachers. Robert Polhemus a Stanford Professor and Elizabeth Hamilton a schoolteacher. I have three siblings two older Camilla and Mackinlay.   My younger sister, Andromeda, was born 5 years after and was the child of Rebecca Reynolds. The split in the marriage was likely the reason I turned to art. I found it early in life to be an escape from my reality. I had friends who also enjoyed drawing and were creative. Many of them were more talented than me. I think, at first, I just tried to mimic the styles of my friends.

We were all heavily influenced by comics and, for me, MAD magazine. To me, MAD was the very very best. I wanted to be Sergio Aragones and I wanted to be Don Martin. My brother and I would spend hours drawing. At the same

Josiah Polhemus

Josiah Polhemus

time, I began acting very early, first at my school, then, in community productions. I never lost my interest in acting or drawing. In high school I would draw comics for my high school paper. I never took my talent too seriously because my very first art teacher in high school gave me a “C.” It was my lowest grade in high school.

In college I turned to theater but would always give cards to my fellow actors as opening night gifts. Many commented on my good wit and ability to capture likenesses. It wasn’t until after graduating with an MFA from the American Conservatory Theater and

Josiah Polhemus

Josiah Polhemus

reaching a level of professional acting I didn’t expect so quickly that I decided to move to Los Angeles. As Matt Groening found fame first with his comic Life In Hell about his time in LA then later becoming the creator of The Simpsons, I found drawing to be a way of facing the difficulty of trying to make it as an actor in LA. While I had some success acting, most actors I knew had jobs doing things like catering, office temp jobs, working for famous people as their assistants. I landed a job at 1-800 Dentist as an operator.

Several up and coming actors and directors had part time jobs there, too. I got my brother a job there and during a crafty art fair we decided to make a series of post cards about Santa Claus called Santa Facts. Each post card depicted some made up fact about Santa. The cards were a hit and launched our greeting card business Avant-Kardz. My brother Mack and I began collaborating on making money with our art.

Josiah Polhemus

Josiah Polhemus

Avant-Kardz started in Venice Beach and we were able to get our cards into Borders Books, Fred Segal and several other coffee shops and greeting card stores. We got tired of peddling our wares and decided to approach magazines to see if they might be interested in a comic strip about the entertainment industry. Several magazines took us seriously and we were able to meet with Entertainment Weekly, Premiere, Variety, The Hollywood Reporter and Film Threat.

Finally, we landed a deal with then national magazine BUZZ. We were given a year contract to do our comic strip The Wize Brothers. Meanwhile, I was teaching Art at Hollywood High School and still pursuing acting and my brother was working at 1-800 Dentist and pursuing a filmmaking career.

We eventually made two films together The Scottish Tale and My Bad Dad. Both were accepted into many film festivals and got distribution through Hollywood Video. The brothers blew a book deal when both ignored a successful pitch to a publishing company. We were too busy trying to make it in the other fields of acting and

Josiah Polhemus

Josiah Polhemus

screenwriting. I was in talks and met a few times with Sandra Tsing Loh to develop a comic based on here NPR series The Loh Life. It fell through when her husband starting drawing the pictures himself and sort of, didn’t want the strip to be about the real Loh family.

I gave up on the comic business and began to just concentrated on writing, directing and acting. I was getting a lot of work at the time doing all three. I successfully made two short films that got distribution through Vanguard Cinema.

Josiah Polhemus

Josiah Polhemus

While I had begun to paint and was highly influenced by my Mother Elizabeth Vezzani who taught me so much about the appreciation of art, how to mix colors, depth and perspective and balance. I never took it seriously. I developed a bad habit of smoking pot that kept me from picking up the paintbrush. When I did and saw the results of being high and creating, they were always disappointing.

After moving back to the Bay Area in 2006 and landing more film, teaching and full time work running a theater company in Oakland, I found myself feeling trapped in by my addiction and a marriage that was suffering. The separation caused a 6-month period of total depression and a constant use of pot.

After meeting Amy Prosser the fog lifted and I came out of my depression and found an ability to stay sober for

Josiah Polhemus

Josiah Polhemus

at least the majority of my time. I have since had occasional slips with pot but after realizing the importance and joy of living sober I made a decision to do a 365 paintings in a year project.

The paintings would reflect every day of my sobriety. The project almost fell apart when, 8 months in, I slipped. For a few weeks I was smoking pot and the paintings suddenly stopped. The effect was profound. It showed me that my life had no creativity when I was using and that, the minute I stopped using, color and creativity came flowing out of me.

Josiah Polhemus (Getting ready for his 365 Painting A Day art show!)

Josiah Polhemus (Getting ready for his 365 Painting A Day art show!)

I caught up on the project and completed 365 paintings. The completion of the project is now a book and an art show. They are featured at the YWCA in Berkeley through January 8th and will then be shown at the Little Farm in Bolinas California through February 1s 2015.   A documentary is being made about the project.

You can like my project on facebook here.

https://www.facebook.com/PaintADayProject

 

I hope you enjoy my tribute today!  The one challenging thing was trying to choose from the millions of ideas I had.  All of his paintings are so clever, emotional and inspiring that I really wanted mine to be meaningful.  I think it turned out good. 🙂  Hope you love it Josiah!

I will see you tomorrow on Day 339!

Best,

Linda

Dream BIG- Tribute to Josiah Polhemus Linda Cleary 2014 Acrylic on Canvas

Dream BIG- Tribute to Josiah Polhemus
Linda Cleary 2014
Acrylic on Canvas

Side-View Dream BIG- Tribute to Josiah Polhemus Linda Cleary 2014 Acrylic on Canvas

Side-View
Dream BIG- Tribute to Josiah Polhemus
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Dream BIG- Tribute to Josiah Polhemus Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Dream BIG- Tribute to Josiah Polhemus
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Dream BIG- Tribute to Josiah Polhemus Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Dream BIG- Tribute to Josiah Polhemus
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Dream BIG- Tribute to Josiah Polhemus Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Dream BIG- Tribute to Josiah Polhemus
Linda Cleary 2014
Acrylic on Canvas

Day 321- Wolf Kahn- Sweeping Bands of Color

It’s Day 321 and I’m still healing…or still getting sick.  I hate being on the teeter toter of getting ill.  It could just be the weather…who knows?  I am excited about today’s artist…I love his paintings and enjoyed doing today’s piece.  Join me in honoring Wolf Kahn today.

Wolf Kahn

Wolf Kahn

Wolf Kahn - Woodland Swamp

Wolf Kahn – Woodland Swamp

Wolf Kahn (born October 4, 1927) is a German-born American painter.

Kahn is known for his combination of realism and Color Field, and known to work in pastel and oil paint. He studied under Hans Hofmann, and also graduated from the University of Chicago. Kahn

Wolf Kahn Original Oil on Canvas

Wolf Kahn Original Oil on Canvas

is a resident of both New York City and, during the summer and autumn, West Brattleboro, Vermont.

Wolf Kahn was born in Stuttgart, Germany in 1927. He states that he began drawing at the age of 4. In 1939, at the age of 12 he fled Germany for England and in 1940 moved to the United States of America.

Barn on Cooks Lane- Wolf Kahn

Barn on Cooks Lane- Wolf Kahn

He attended the High School of Music and Art in New York City and graduated in 1945. Under the GI Bill, he was able to continue his studies with abstract expressionist Hans Hofmann at the Hans Hofmann School. He became Hofmann’s studio assistant. He enrolled for a degree from the University of Chicago in 1950 and completed this in only one year, receiving a Bachelor’s Degree in 1951.

His wife Emily Mason is also a painter. They have two daughters,

Wolf Kahn - Order in Disorder

Wolf Kahn – Order in Disorder

Cecily and Melany.

Wolf Kahn works in oil and pastel. His works usually covers the subject of landscapes and his own personal vision of nature. His convergence of light and color has been described as combining pictorial landscapes and painterly abstraction.

His gallery, Ameringer|McEnery|Yohe, states

Yellow Symphony- Wolf Kahn

Yellow Symphony- Wolf Kahn

“The unique blend of Realism and the formal discipline of Color Field painting sets the work of Wolf Kahn apart. Kahn is an artist who embodies the synthesis of his modern abstract training with Hans Hofmann, with the palette of Matisse, Rothko’s sweeping bands of color, and the atmospheric qualities of American Impressionism. It is precisely this fusion of color, spontaneity and representation that has produced such a rich and expressive body of work.”

Wolf Kahn has received a number of awards including a Fulbright Scholarship in 1962, a John Simon Guggenheim Fellowship in 1966, and an Award in Art from the American Academy of Arts and Letters in 1979.

Wolf Kahn became a member of the National Academy of Design in 1980 and the American Academy of Arts

Wolf Kahn

Wolf Kahn

and Letters in 1984. He is currently on the Board of Trustees forMarlboro College, in Marlboro, VT.

In 2005 the Smithsonian Art Collectors Program commissioned Kahn to produce a print to benefit the cultural

and educational programs of the Smithsonian Associates. The screen print, entitled Aura, hangs in the Graphic Eloquence exhibit in the S. Dillon Ripley Center in the National Mall.

Biography is from wikipedia.

I hope you enjoy my piece today.  I didn’t use pastels or oil paints.  I only have oil pastels and I don’t think they would’ve worked as well as soft pastels.  I used watercolors and acrylics, but I think the style and spirit came through.  I will see you tomorrow on Day 322!

Best,

Linda

Autumn Forest- Tribute to Wolf Kahn Linda Cleary 2014 Watercolor & Acrylic on Canvas

Autumn Forest- Tribute to Wolf Kahn
Linda Cleary 2014
Watercolor & Acrylic on Canvas

Side-View Autumn Forest- Tribute to Wolf Kahn Linda Cleary 2014 Watercolor & Acrylic on Canvas

Side-View
Autumn Forest- Tribute to Wolf Kahn
Linda Cleary 2014
Watercolor & Acrylic on Canvas

Close-Up 1 Autumn Forest- Tribute to Wolf Kahn Linda Cleary 2014 Watercolor & Acrylic on Canvas

Close-Up 1
Autumn Forest- Tribute to Wolf Kahn
Linda Cleary 2014
Watercolor & Acrylic on Canvas

Close-Up 2 Autumn Forest- Tribute to Wolf Kahn Linda Cleary 2014 Watercolor & Acrylic on Canvas

Close-Up 2
Autumn Forest- Tribute to Wolf Kahn
Linda Cleary 2014
Watercolor & Acrylic on Canvas

Close-Up 3 Autumn Forest- Tribute to Wolf Kahn Linda Cleary 2014 Watercolor & Acrylic on Canvas

Close-Up 3
Autumn Forest- Tribute to Wolf Kahn
Linda Cleary 2014
Watercolor & Acrylic on Canvas

Day 320- Elena Sisto- In The Act

It’s Day 320 and I still feel like I’m fighting off some sort of cold.  I had fun with today’s painting.  I had to play with it for a while and I still feel like I could’ve kept altering it.  The shading of today’s artist’s pieces are hard to emulate.  My instinct is to go with bolder lines…I had to fight that.  I also wanted to do an interesting perspective piece.  Join me in honoring Elena Sisto today.  Her paintings are wonderful and I couldn’t wait to do a tribute.

Elena Sisto

Elena Sisto

Hat 2013, Ear 2013- Elena Sisto

Hat 2013, Ear 2013- Elena Sisto

Elena Sisto, American, born 1952

In her paintings Elena Sisto uses the structuring ideas of abstraction to mine content that relates to her interest in how people define their own identity and present themselves.

The combination of abstract means and figurative content often results in imagery that has a simplified or slightly cartoonish cast. Sisto uses the economy of cartooning language to access emotion

Check Shirt- Elena Sisto

Check Shirt- Elena Sisto

directly and to keep the image functioning on a structural level both in terms of form and content. This way she bypasses a more anecdotal approach.

She aims to invest the paintings with the real weight of experience, but keep the figures emblematic. A character in Sisto’s world is a persona rather than a person. Her content-development process fluctuates between the pop culture/social (signified by the abstracted language of cartoon) and the personal (signified by elements of realism). There’s a touch of cubism as well. She finds an interiority through fracturing and simultaneity, seeking to avoid using a specific narrative to spell things out.

Painting with Music 2011- Elena Sisto

Painting with Music 2011- Elena Sisto

Sisto’s current work centers around the artist’s experience of being in the studio, and the passage into adulthood of young women artists. Her characters are an invented hybrid of fiction and reality. They are images of women as workers, thinkers, and creators. In creating them she has been much influenced by the students she teaches at the School of Visual Arts.

Sisto has had nineteen one-person shows, including at the Maier Museum in Lynchburg, Virginia; the Katzen Museum in Washington, D.C.; the Greenville County Museum, Greenville, south Carolina; and the Miami Dade College of Art + Design, Miami, Florida.

She exhibited work in the 43rd Biennial of Contemporary Painting at the

From- Fairy Tales: Portrait Paintings by Elena Sisto

From- Fairy Tales: Portrait Paintings by Elena Sisto

Corcoran Gallery of Art, in Washington, D.C. and numerous group shows throughout the U.S.

She’s been the recipient of two National Endowment for the Arts grants, fellowships to Yaddo, the Fine Arts Work Center in

From Fairy Tales: Portrait Paintings by Elena Sisto

From Fairy Tales: Portrait Paintings by Elena Sisto

Provincetown, the Millay Colony, the Peter S. Reed Foundation Grant, a Hand Hollow Foundation Fellowship and scholarships to the New York Studio School, the Skowhegan School, and the Yale Norfolk Program. Sisto received the National Academy Museum and School of Fine Arts 183rd Invitational Inglish Griswold Nelson Prize in painting.

Her work has been written about or reviewed in the New York Times, Arts Magazine, Art in America, Art News, Modern Painters, Art Forum, the Orange County Register, the Newark Star-Ledger, the New Art Examiner, Review Magazine, the Boston Globe, the L.A. Times, Art Journal, and the Philadelphia Inquirer, among others.

Her work has been included in numerous public and private collections.

She organized and moderated a panel for the College Art Association on drawing and has taught at the School of Visual Arts (since 1997), Columbia University, Rhode Island School of Design, the New York Studio School, The Yale Norfolk summer program, and the Chautauqua Institution. She’s been a visiting artist at about thirty-five art schools, colleges, and universities.

Sisto is newly affiliated with Lori Bookstein Fine Arts where she will be presenting her first exhibit entitled

Elena Sisto

Elena Sisto

Between Silver Light and Orange Shadow, which will be on view from April 25th through June 1st, 2013.

Article is from John Simon Guggenheim Memorial Foundation website.

What I took from this piece is doing a whole new perspective in a painting that I normally wouldn’t have done.  I hope I captured some of Sisto’s spirit if not the style exactly.  I love the painting of the hat and ear and used those as my main inspirations.  I hope you enjoy my tribute and I’ll see you tomorrow on Day 321!

Best,

Linda

The Blues- Tribute to Elena Sisto Linda Cleary 2014 Acrylic on Canvas

The Blues- Tribute to Elena Sisto
Linda Cleary 2014
Acrylic on Canvas

Side-View The Blues- Tribute to Elena Sisto Linda Cleary 2014 Acrylic on Canvas

Side-View
The Blues- Tribute to Elena Sisto
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 The Blues- Tribute to Elena Sisto Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
The Blues- Tribute to Elena Sisto
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 The Blues- Tribute to Elena Sisto Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
The Blues- Tribute to Elena Sisto
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 The Blues- Tribute to Elena Sisto Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
The Blues- Tribute to Elena Sisto
Linda Cleary 2014
Acrylic on Canvas

Day 318- Amy Sillman- Layer By Layer

It’s Day 318 and I’m having another difficult art day.  Just not feeling very intuitive or creative today and a little under the weather.  I am thankful that I haven’t had too many days like this throughout the past year.  Yet I persevered and did my painting.  I enjoyed the creation process, but I kept altering and jiggering the piece…overanalyzing everything going on in my brain.  I hope I captured the artist’s style…even just a little.  Her pieces are surprisingly difficult to emulate which makes them special.  Maybe on a different day I would’ve been less critical!  Join me in honoring Amy Sillman today!

Amy Sillman

Amy Sillman

Amy Sillman

Amy Sillman

Amy Sillman (born 1955) is an American painter. She lives and works in Brooklyn.

Sillman was born in Detroit, Michigan, and the winding story line of her early years led her to work in a cannery in Alaska and a feminist silkscreen factory in Chicago, and to train at New York University as a Japanese interpreter for the United Nations. She finally landed at Manhattan’s School of Visual Arts, graduating in 1979. Then she spent more than a decade content, as she has said, with “learning how to make paintings—just working, not showing.”

In a 2006 Artforum article, Jan Avgikos wrote that Sillman’s paintings “mine the edges of abstraction, meshing patches of color with bursts of chaotic line and web-like compositional scaffolding.”

Amy Sillman, Blue Diagram, 2009

Amy Sillman, Blue Diagram, 2009

Embracing a modernist reverence of inspired imagination, Sillman defines honesty as the most enduring quality of painting and speaks of painting as “physical, like an extension of my arm.” In a New York Times review of Sillman’s 2006 exhibition at Sikkema Jenkins & Co., Ken Johnson wrote, “The paintings are especially gratifying up close, where you can study the richly complicated textures and colors…” In 2007 Sillman completed four etchings at Crown Point Press, and of this experience, she has said, “Everything that is done in my painting was taken apart layer by layer in printmaking. You take one hundred layers apart and figure out which six will work.”

Bed- Amy Sillman

Bed- Amy Sillman

In a 2007 article in Artforum, Linda Norden wrote of Amy Sillman’s “fearless, tenacious pursuit of a painting that might accurately register the discomfort, incoherence, and absurdity that can characterize painterly experience—and experience in general,” and speaks of “her increasingly influential place among younger painters in both New York and Los Angeles, where she regularly shows, and her growing currency even among contingents of European painters.” Art critic Roberta Smith compared Sillman to similar women painters such as Elena Sisto, Margaret Curtis, and Sue Williams.

Sillman lives in Williamsburg, Brooklyn and maintains a studio in Bushwick.

Sillman began showing at the Brent Sikkema Gallery in New York in 2000. She is represented by Sikkema

Pirate- Amy Sillman

Pirate- Amy Sillman

Jenkins & Co., New York, and shows at Capitain-Petzel in Berlin, at Thomas Dane Gallery in London, and at Susanne Vielmetter Los Angeles Projects, Los Angeles. The first large scale survey of her work, curated by Helen Molesworth, premiered at the Institute of Contemporary Art, Boston in October 2013. The exhibition will also travel to the Aspen Art Museum and the Center for Curatorial Studies and Art in Contemporary Culture at Bard College. Her solo show “Third Person Singular,” the exhibition of a year-long project of portraiture and abstract painting, was on view at theHirshhorn Museum and Sculpture Garden in Washington, DC, and travelled to the Tang Museum at Skidmore College in Saratoga Springs, New York, until 2009.

Sillman’s paintings are in the permanent collections of the Museum of Fine Arts in Boston, the Art Institute of Chicago, and the Museum of Modern Art and the Whitney Museum of American Art in New York as well as private collections including the collection of CJ Follini and Renee Ryan.

Amy Sillman, P, 2007, courtesy of the artist and Sikkema Jenkins & Co., New York.

Amy Sillman, P, 2007, courtesy of the artist and Sikkema Jenkins & Co., New York.

In 1995, the same year she received an MFA from Bard College, Sillman was awarded a National Endowment for the Arts fellowship in painting and the Elaine de Kooning Memorial Fellowship in 1995. In 1999 she received fellowships from the Pollock-Krasner Foundation and the Joan Mitchell Foundation, and in 2000 was awarded aGuggenheim Fellowship. In 2012, as part of the fifth anniversary of the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art, the museum presented Sillman with the First Award, a prize given to 15 women who were first in their fields.

Amy Sillman was a Guna S. Mundheim Fellow in the Visual Arts at the American Academy in Berlin, Germany, during the Spring of 2009. During the fall of 2010, she was a Fellow at the Radcliffe Institute for Advanced Study at Harvard University. In May 2011, the Montserrat College of Art awarded Amy Sillman an honorary doctoral degree in fine arts.

Biography is from wikipedia.

I hope you enjoy my tribute today.  I will see you tomorrow on Day 319.  I’m going to take the world’s longest nap now.  I hope I feel better tomorrow.  Bummed to be missing my improv rehearsal tonight.

Best,

Linda

Meet Me There- Tribute to Amy Sillman Linda Cleary 2014 Acrylic on Canvas

Meet Me There- Tribute to Amy Sillman
Linda Cleary 2014
Acrylic on Canvas

Side-View Meet Me There- Tribute to Amy Sillman Linda Cleary 2014 Acrylic on Canvas

Side-View
Meet Me There- Tribute to Amy Sillman
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Meet Me There- Tribute to Amy Sillman Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Meet Me There- Tribute to Amy Sillman
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Meet Me There- Tribute to Amy Sillman Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Meet Me There- Tribute to Amy Sillman
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Meet Me There- Tribute to Amy Sillman Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Meet Me There- Tribute to Amy Sillman
Linda Cleary 2014
Acrylic on Canvas

Day 316- Grace Hartigan- Painting Poems

It’s Day 316 and I struggled today with art in general.  I started to panic a little yesterday about including all the artists I wanted to before the project is over…which is an impossible thing so therefore my anxiety is a little irrelevant.  I started, restarted, and altered my painting and artists today until I came up with my piece.  I really liked the outcome and am thinking that the slight panic was a sort of gift.  I’ll explain more below.  For now, join me in honoring Grace Hartigan today.

Grace Hartigan

Grace Hartigan

Woman with Red Flower- Grace Hartigan

Woman with Red Flower- Grace Hartigan

Grace Hartigan, a second-generation Abstract Expressionist linked historically to artists of the first, such as Jackson Pollock and Willem de Kooning, who forged a new form of painting based on bold gesture and experimental brushwork. Within the movement, she was respected for her commitment and thick skin, and her striking paintings reflect this attitude.

Though she built her early career upon complete abstraction, in 1952 Hartigan began

Since Rousseau- Grace Hartigan

Since Rousseau- Grace Hartigan

incorporating recognizable motifs and characters from various sources into her art, and moved

fluidly between figuration and abstraction throughout her long career. For this reason, her work is often considered to be a precursor to Pop art.

Hartigan’s belief that painting must have “content and emotion” continued throughout her career. Even though her work is often associated with Pop art, Hartigan disliked the idea of mass manufacturing that Pop embraced, preferring the emotion generated by the evident hand of the artist.
Ask Me No More- Grace Hartigan

Ask Me No More- Grace Hartigan

Hartigan’s best-known works combine the abstraction of her early work with recognizable images from everyday life or motifs from art history, particularly from the Renaissance and Baroque periods. The distinction between abstraction and figuration is often blurred by her experimental brushwork and lack of shading.

Hartigan was born in Newark, New Jersey, in 1922. As a child, she was close to her grandmother and her aunt, both of whom encouraged her creativity with stories and folktales. Hartigan was later involved with her high school drama program and wanted to be an actress. She married at 17 to Robert Jachens because, she claimed, he was the first boy to read poetry to her. Wanting to escape their narrow upbringing, the couple headed for Alaska to homestead.

They got as far as Los Angeles before they ran out of money and Hartigan found out

Second Sitting: In her "Bronzino's Young Man," from 1985, Grace Hartigan riffs on a 16th-century cult classic of portraiture, Agnolo Bronzino's "Portrait of Lodovico Capponi."

Second Sitting: In her “Bronzino’s Young Man,” from 1985, Grace Hartigan riffs on a 16th-century cult classic of portraiture, Agnolo Bronzino’s “Portrait of Lodovico Capponi.”

she was pregnant with her only child, Jeffrey. She took a few painting classes before they returned to New Jersey. When Robert was drafted to fight in World War II, Hartigan lived with his parents and got a job as a mechanical draughtsman to support herself and her son. She was sent to the Newark College of Engineering for on-the-job training. It was during this period, after she and her husband separated, that a friend introduced her to the works of Henri Matisse and she began taking art courses from a local artist named Isaac Lane Muse.

”Crowning of the Poet” by Grace Hartigan

”Crowning of the Poet” by Grace Hartigan

Hartigan is admired for having, as one critic noted, “resolved the problem that doomed many artists of the New York School: where to go from art in the 1950s.” Since she was able to reconcile abstraction with her usage of realism and iconography, she influenced many future artists, including Neo-Expressionists like David Salle and Julian Schnabel. She made the Maryland Institute College of Art a nationally prominent program and mentored hundreds of students during her tenure there.

GRACE HARTIGAN QUOTES

“Well, it is not very comforting when you are going through it. But after you have gone through it, won the facility after years of hard work, and are able to say what you feel and think, then it is a sweet triumph.”

“A line is like a lasso. You throw it over your head and you grab something. It’s like writing. You can read a line in painting almost the way

Grazie Rosetti, 1995- Grace Hartigan

Grazie Rosetti, 1995- Grace Hartigan

you can read a word. Drawing is really like writing poetry. Color itself is not like a poem. It diffuses from the very specific. It’s changeable – its images change.”

“Now as before it is the vulgar and the vital and the possibility of its transformation into the beautiful which continues to challenge and fascinate me.”

“Or perhaps the subject of my art is like the definition of humor – emotional pain remembered in tranquility.”

Biography is from www.theartstory.com.

I hope you enjoy my piece today.  Earlier I was saying that the anxiety was somewhat of a gift.  My painting wouldn’t have turned out the way it did without it.  The concept of the piece wouldn’t have happened either.  The two figures beside me are my inner voices in my head and the main “me” is content with blocking them out.  A huge lesson I am still learning on a daily basis.  So in the end this piece was very therapeutic!  I also wanted to incorporate the artist’s abstract and figurative styles.  I will see you tomorrow on Day 317!

Best,

Linda

Block Them Out- Tribute to Grace Hartigan Linda Cleary 2014 Acrylic on Canvas

Block Them Out- Tribute to Grace Hartigan
Linda Cleary 2014
Acrylic on Canvas

Side-View Block Them Out- Tribute to Grace Hartigan Linda Cleary 2014 Acrylic on Canvas

Side-View
Block Them Out- Tribute to Grace Hartigan
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Block Them Out- Tribute to Grace Hartigan Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Block Them Out- Tribute to Grace Hartigan
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Block Them Out- Tribute to Grace Hartigan Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Block Them Out- Tribute to Grace Hartigan
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Block Them Out- Tribute to Grace Hartigan Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Block Them Out- Tribute to Grace Hartigan
Linda Cleary 2014
Acrylic on Canvas

Day 309- Jad Fair- Cuttings and Covers

It’s Day 309 and all I used today was a pen and a pair of scissors!  It was super difficult and I can’t believe today’s artist does such complex pieces.  Today’s artist is not only an artist, but a musician and more.  He’s one of my favorites!  Please join me in honoring Jad Fair today.

Jad Fair

Jad Fair

Monster Party, Haunted House Album Cover- Jad Fair

Monster Party, Haunted House Album Cover- Jad Fair

Jad Fair (born June 9, 1954) is an American singer, guitarist and graphic artist, most famous for being a founding member of lo-fi alternative rock group Half Japanese.

Fair was born in Coldwater, Michigan. In 1974, with his brother David, Jad Fair founded the lo-fi group Half Japanese. Since then, Half Japanese released nearly 30 records.

Besides Half Japanese Fair performs and records as a solo artist, as well as collaborating with such artists as Terry Adams, Norman Blake, Kevin Blechdom, Isobel Campbell,Eugene Chadbourne, DQE, Steve Fisk, Fred Frith, God Is My Co-

Jad Fair, Old Lady and the Devil, 2007

Jad Fair, Old Lady and the Devil, 2007

Pilot, Richard Hell, Daniel Johnston, J. Mascis, Jason Willett, Monster Party, Weird Paul Petroskey, R. Stevie Moore, Thurston Moore, The Pastels, Phono-Comb, Steve Shelley, Strobe Talbot, Teenage Fanclub, The Tinklers, Moe Tucker, Bill Wells, Jason Willett, Adult Rodeo,Lumberob, Yo La Tengo, and John Zorn. Because of his constant output and his large series of collaborations, his discography is very large, and mostly consists of releases on small independent labels. In 1982 Fair released his first solo work, the single “The Zombies of Mora-Tau” followed by the full length album Everyone Knew … But Me one year later.

Me Got You (Drawing)- Jad Fair

Me Got You (Drawing)- Jad Fair

Besides his musical career he’s also active as a visual artist, drawings as well as papercuttings. He took up papercutting to alleviate boredom while touring on the road.  Many of the album covers are made by Fair. Four books of Fair’s art have been published. Exhibitions of Fair’s paper cuts and drawings have taken place in New York, Tokyo, Glasgow, Austin, Paris, London, Houston, The Hague at the State-X New Forms festival and in Nantes at Le Lieu Unique together with Daniel Johnston.

It’s Spooky is a 1989 collaboration album by Daniel Johnston and Jad Fair. Strange but True is a collaborative album between the band Yo La Tengo and Jad Fair. It was released by Matador Records in 1998. Song titles on the album were taken from outrageous newspaper headlines.

In 2002 Fair recorded an album with R. Stevie Moore, titled FairMoore, described as “a lovely, heartfelt effort that shows both in top form” by Dave Mandl, who stated that it “brings together two fiercely original figures in

Jad and David Fair, Best Friends Album Cover- Jad Fair

Jad and David Fair, Best Friends Album Cover- Jad Fair

the American music underground”, the album consisting of Fair reciting his poetry over Moore’s instrumental backing. Words Of Wisdom And Hope is a collaboration between Glasgow, Scotland’s Teenage Fanclub and Fair, released in 2002.

In 2008 Vincent Moon made a short documentary called Paris lost in Texas, which is part of his The Take-Away Shows-series. In this short movie he visits Fair in house in Texas. In the same year experimental instrument builder Yuri Landman constructed for Fair a special 2 string instrument called the Bachelor QS.

Paper Cuttings- Jad Fair

Paper Cuttings- Jad Fair

In 2011 Half Japanese reunited as a live band and toured through Europe. In 2011 Thick Syrup Records released the compilation album ’78 LTD. This album features the track “36 Perfect Ways I Ching of Love” Fair made with Ken Stringfellow (Posies, R.E.M.). In 2012 Fair contributed to the Landman album That’s Right Go Cats with a 22 minute vocal contribution on side A of the record. The Nantes based venue Le Lieu Unique has organised a large exhibition of graphical work made by Fair and Daniel Johnston in April 2012. In the same month Fair released a lost album called Songs from a Haunted House with Gilles Reider on Interbang Records.

In 2012 Jad Fair released on Joyful Noise Recordings a collaboration with French experimentalist trio Hifiklub, and German guitarist/producer kptmichigan. The band was originally assembled to provide the audio component to Jad Fair’s art exhibition at Le Dojo – Nice in France, 2011.

Biography is from wikipedia.

In 1974, with his brother David, Jad Fair co-founded the lo-fi alternative rock group Half Japanese. Over the ensuing three decades, Half

Houston- Jad Fair

Houston- Jad Fair

Japanese released nearly 30 records, and in the process, attracted a solid base of fans passionate about the band’s pure, unbridled enthusiasm for rock and roll. Jad also performs and records as a solo artist, and occasionally collaborates with such musicians as Daniel Johnston, Teenage Fanclub, Moe Tucker (of Velvet Underground), Yo La Tengo, Steve Shelly and Thurston Moore (of Sonic Youth), John Zorn, Kramer, and more.

Jad’s talent for album cover design (he designed many of Half Japanese’s and all of his own solo album covers) led Jad to a second career as visual artist. His simple, joyous drawings and intricate, complex paper cuttings are shown in galleries around the world. Books of his artwork have been published in the U.S., UK, Germany, France and Japan. Jad is available for illustration work, including CD covers, t shirt designs, and advertisements.

Short bio above is from www.jadfair.org.

I decided to do a paper cutting for today’s tribute.  I hadn’t done anything like it this whole challenge.  I like how it turned out.  It was a challenge and reminded me of paper cutting snowflakes when I was little!  This was hard because I was trying to do a very specific design. I hope you enjoy it and I’ll see you tomorrow on Day 310.  Only 55 paintings to go!  Wow.

Best,

Linda

Squidman Loves Me- Tribute to Jad Fair Linda Cleary 2014 Mixed-Media on Canvas

Squidman Loves Me- Tribute to Jad Fair
Linda Cleary 2014
Mixed-Media on Canvas

Side-View Squidman Loves Me- Tribute to Jad Fair Linda Cleary 2014 Mixed-Media on Canvas

Side-View
Squidman Loves Me- Tribute to Jad Fair
Linda Cleary 2014
Mixed-Media on Canvas

Close-Up 1 Squidman Loves Me- Tribute to Jad Fair Linda Cleary 2014 Mixed-Media on Canvas

Close-Up 1
Squidman Loves Me- Tribute to Jad Fair
Linda Cleary 2014
Mixed-Media on Canvas

Close-Up 2 Squidman Loves Me- Tribute to Jad Fair Linda Cleary 2014 Mixed-Media on Canvas

Close-Up 2
Squidman Loves Me- Tribute to Jad Fair
Linda Cleary 2014
Mixed-Media on Canvas

Close-Up 3 Squidman Loves Me- Tribute to Jad Fair Linda Cleary 2014 Mixed-Media on Canvas

Close-Up 3
Squidman Loves Me- Tribute to Jad Fair
Linda Cleary 2014
Mixed-Media on Canvas