The End AND The Beginning!

Jackson Pollock Day!

Jackson Pollock Day!

First of all, I woke up this morning thinking, “Well, better get to painting!” then I remembered that I was done, finished, complete and I had zero paintings left to do with this particular challenge.  I felt a rush of relief, then sadness and then confusion.  This project had infused itself into my life and I’m pretty sure there are elements of it that I will never rid myself of.

I learned so much this past year.  Yes, I learned technical aspects of art, TONS of art history, was introduced to new materials, styles and movements.  I’ve painted paintings I would’ve never thought of or wanted to paint (I said YES!).  I’ve painted some of my best work and some of my not so great work.  I accepted failure graciously and also moved on instead of lingering on that failure.

One of the biggest things I realized was how much I enjoy just the process of “doing”.  This challenge forced me to just “do” and not worry about the result.  And boy wouldn’t it be great to live the rest of my life like that?  Live for just now and not worry about the past or present.  Well, this project was an exercise in that for sure.  I had gotten the question, “How are you doing this?” from so many people and the only answer I could give was, “I just do it.”

This project started out as a personal challenge.  I never imagined how many people it would inspire and

Early on the the project...seems like yesterday!

Early on the the project…seems like yesterday!

affect.  I am so glad it did and I am so happy I decided to share it, declare it to all my friends.  I think that in doing so it gave me the motivation and a slight amount of pressure to make sure I did it every single day.

I also made new friends through this challenge.  People who followed and commented on my blog, relatives of some of the artists that I paid tribute to (writing me to tell me that they appreciated my tribute to their grandfather, uncles, grandmothers etc.) and even some artists themselves like Gerard Sendrey, Pierre Silvin, Sophie Orlicki, Anne Billon (Ruzena), John “CRASH” Matos and Matt Sesow.  Gerard Sendrey writes me regularly and we have become friends.  He and his son Pierre Silvin have both sent me their own personal artwork in thanks to my tribute.  Gerard has also written an article about my project/art in a French publication that will be published in a few days!  I was also interviewed by Scott Lefebvre who is a writer and maintains his own blog where he interviews interesting people.

So like I said, so much has come from this idea that I had for this insane project.

That one time (and the last time) I painted with my mouth...

That one time (and the last time) I painted with my mouth…

I am going to continue to paint (of course!) and I have many ideas for series of paintings.  I’ll be putting all this experience into larger pieces and I’m going to continue to promote my own art and live my life in the mind frame that I’ve adopted while engaging in this challenge.  My experience has grown and so have I as a person.

I hope I don’t sound too bold when I say that I am damned proud of myself but I also cannot believe that I actually did it.  I hope that this project has inspired you and that people keep on discovering it and it continues to inspire people to challenge themselves, enjoy the process of creating and just “do”.

Keep creating, start creating in whatever shape, form, sound or action you feel.  Don’t worry about people liking it, it being a masterpiece or making money.  Do it because it makes you happy and you are learning something from it.

I want to end this blog with some kind words I received (or people posted about my project).

My friend Rohan had this to say…(He expressed my project in a way that I couldn’t have…and of course it made me cry)

I’m not one to promote other people’s stuff too often on Facebook, but today I would like to profess my sincere admiration for Linda Cleary. When I first met her, now 8 or so years ago I was

Buried in art

Buried in art

immediately impressed by her unashamed, unpretentious, and very hard-working creativity. She has always been writing books, painting pictures, making music and acting the whole time I have known her, and unlike so many other folks I know, almost every project is followed through and finished. Those who know me personally will be aware how prolific (and unedited) I am, but Linda puts me to shame. Last year, on Jan 1st, she embarked on a massive, and deeply un-egotistical project – to paint a painting per day, for a year, each one a sincere homage, either stylistically, emotionally, or conceptually, to an artist she admires, some famous, some personal friends, some just worthy of her admiration; a different artist each day for a year. Believe me, having watched the project progress, this is not an exercise in “look what I can do” so much as a genuine pilgrimage through the styles and visions she admires and have influenced her along the way. As the project progressed her blog began

Last day!

Last day!

to attract interest, and in some cases, artists she had paid homage to to got personally in touch to express appreciation (and send her pressies). All of this with no intention of making money or becoming famous. Just because that is one of many things that art is about. Yesterday she posted her final, 365th painting of the series. So today I applaud Linda Cleary, and recommend you go and take a look at her Day of the Artist.

My friend Clay posted this:

Today is the last day of my very good friend Linda Cleary’s incredible project. She has created a painting every day, each honoring a different artist, for the past year. When she first told me of her plans to do it, I didn’t believe there was any way a person could be so committed to pull that off. Today however, will be her 365th installment in the series. I highly encourage you to check out some of the work on her facebook page and at dayoftheartist.com, where she also includes a short bio of each artist for each day. I’m so incredibly proud of her and she inspires me so much every day. I’m also crazy excited to say that I will be partnering with her for next year’s project. More info on that soon, but wish us luck. In the meantime, check out her stuff and tell her how awesome / insane she is pulling this whole thing off.

I am honored and humbled for those posts!  SO many of you have written me, commented and told me in

Whew!  This is just a portion of the paintings...there's about 50 hanging and a whole other stack of the 3-D paintings that can't stack.

Whew! This is just a portion of the paintings…there’s about 50 hanging and a whole other stack of the 3-D paintings that can’t stack.

person how inspiring this project was to you and every word means so much.  Thank you to you all for your support, encouragement and inspiration.  I love you all!

P.S.  I could keep writing and writing about every single thing I learned from this project, but I’m saving that for my doctoral thesis.  Does that even make sense?  Sorry, I don’t have a Ph. D. 😉

Best,

Linda

Day 365- Bob Ross- Happy Accidents

Well, it’s finally Day 365 and I’ve been anticipating and slightly dreading this day all year!  I wasn’t sure how I was going to feel when this project was finally complete.  I’m ecstatic, tired, shocked, humbled and proud…just to name a few emotions!  I still have to plan an art show, organize my pieces…repaint the Lisa Frank tribute since that’s the sole painting I gave away before completing the project. Now please join me in honoring Bob Ross today!

Bob Ross

Bob Ross

Night Light- Bob Ross

Night Light- Bob Ross

Robert Norman “Bob” Ross (October 29, 1942 – July 4, 1995) was an American painter, art instructor, and television host.  He was best known as the creator and host of The Joy of Painting, a television program that aired on PBS in the United States, Canada, and Europe.

Bob Ross was born on October 29, 1942 in Daytona Beach, Florida. Ross was raised in Orlando, Florida. Ross had a half brother Jim, whom he mentioned in passing on his show.

While working as a carpenter with his father, Ross lost his left index

Mountain Blossoms- Bob Ross

Mountain Blossoms- Bob Ross

finger. It did not affect the way he held his palette while painting.

Ross enlisted in the United States Air Force at age 17. The Air Force transferred him to Eielson Air Force Base in Alaska, where he first saw the snow and mountains that later became recurring themes in his artwork. He developed his quick-painting technique to create art for sale in brief daily work breaks. Having held military positions that required him to be, in his own words, “mean” and “tough,” “the guy who makes you scrub the latrine, the guy who makes you make your bed, the guy who screams at you for being late to work,” Ross decided that if he ever moved on from the military, he would never scream again.

Blue Moon- Bob Ross

Blue Moon- Bob Ross

During Ross’ stay in Alaska, he worked as a bartender part-time, when he discovered a TV show that was called The Magic World of Oil Painting, hosted by a German painter, named Bill Alexander.

After studying with Bill Alexander, Ross discovered that he was soon able to earn more from selling his work than from his Air Force position. Ross then retired from the Air Force after 20 years of service with the rank of Master Sergeant and became famous worldwide hosting The Joy of Painting, with the help of Annette & Walter Kowalski.

Before the show was launched, Bob would try to promote the painting technique but with little interest. He also had to find a way to cut back on spending, so he decided to have his hair permed, just so he could save money on haircuts. The perm hairstyle was not comfortable for Bob, but ultimately became an iconic feature of the painter.

Ross used the wet-on-wet oil painting technique, in which the painter continues adding paint on top of still-wet paint rather than waiting a lengthy amount of time to allow each layer of paint to dry. From the beginning, the

Bob Ross

Bob Ross

program kept the selection of tools and colors simple so that viewers wouldn’t have to make large investments in expensive equipment.

Ross frequently recommended odorless paint thinner (aka odorless mineral spirits) for brush cleaning. Combining the painting method with the use of one- and two-inch brushes as well as painting knives allowed Ross to paint trees, water, clouds, and mountains in a matter of seconds. Each painting would start with simple strokes that appeared to be nothing more than colored smudges. As he added more and more strokes, the blotches transformed into intricate landscapes. Ross dedicated the first episode of the second season of The Joy of Painting to William Alexander, explaining that “years ago, Bill taught me this fantastic [wet-on-wet] technique, and I feel as though he gave me a precious gift, and I’d like to share that gift with you [the viewer]”. He estimated having painted between 25,000 and 30,000 paintings in his life.

Bob Ross

Bob Ross

Ross noted that the landscapes he painted—typically mountains, lakes, snow, and log cabin scenes—were strongly influenced by his years living in Alaska, where he was stationed for the majority of his Air Force career. He repeatedly stated on the show his belief that everyone had inherent artistic talent and could become an accomplished artist given time, practice, and encouragement, and to this end was often fond of saying, “We don’t make mistakes; we just have happy accidents.”

Ross was well known for other catch phrases he used while painting as he crafted the ever-so-popular saying: “happy little trees.” In most episodes of The Joy of Painting, he noted that one of his favorite parts of painting was cleaning the brush, specifically his method of drying off a brush, which he had dipped in odorless thinner, by striking it against the thinner can and easel. He would smile and often laugh aloud as he “beat the devil out of it.” He also used a palette that had been lightly sanded down, which was necessary to avoid catching the reflections of strong studio lighting. At the end of each episode, Ross was best known for saying, “so from all of us here, I’d like to wish you happy painting, and God bless, my friend.”

When asked about his laid-back approach to painting and calm and contented demeanor, he once commented: “I got a letter from somebody here a while back, and they said, ‘Bob, everything in your world seems to be

Camp Fire- Bob Ross

Camp Fire- Bob Ross

happy.’ That’s for sure. That’s why I paint. It’s because I can create the kind of world that I want, and I can make this world as happy as I want it. Shoot, if you want bad stuff, watch the news.”

Ross had two sons, Bob and Steven, with his first wife, Lynda Brown. Steven occasionally appeared on The Joy of Painting and became a Bob Ross–certified instructor. The last episode of Season 1 was a question-and-answer forum in which Steven read a series of general “how-to” questions sent in by viewers during the season, and Bob answered them one at a time, technique by technique, until he had completed an entire painting. Ross and Lynda’s marriage ended in divorce in 1981.

Bob Ross

Bob Ross

Ross and his second wife, Jane, had one son, Morgan, who is also an accomplished painter. In 1993, Jane died from cancer, and Ross would not remarry.

Ross was diagnosed with lymphoma in the early 1990s, forcing his retirement; The Joy of Painting’s final episode aired on May 17, 1994. He died at the age of 52 on July 4, 1995. His remains are interred at Woodlawn Memorial Park in Gotha, Florida.

Biography is from wikipedia.

I decided to honor Bob Ross for the last piece and I also decided to finally do an oil piece.  I decided that aspect because I wanted to actually paint along with an episode of his TV show and wanted to have the proper materials.  Alas, I didn’t get “firm” enough oil paints and didn’t prep (as well) or wait for the paint to get a little dryer before jumping right in.  I was just a little too excited so it didn’t turn out exactly the way I wanted (not as soft looking), BUT also I do like the piece because it came out a little better than I expected and I have to give my self a little slack for working with oils for the first time in years!  Bob Ross definitely eliminated my anxiety while I painted.  He definitely knows how to put joy in painting!

I will be posting another blog with more of my thoughts about this project and what it has meant to me.  I’ll also continue using this blog for featuring my future paintings and artwork!  I do hope you’ll continue to visit and say hello!  Thank you all for your support, encouragement and kind words throughout this insane challenge.  It’s been wonderful, stressful, challenging and they’re were definitely days where painting a piece was the last thing I felt like doing, but I persevered and learned so much about motivation and sheer will!  Now off to walk the dogs, finally listen to that Serial podcast, eat a sandwich and possibly fall into some sort of hibernation state.  HAPPY NEW YEAR ALL!

Love,

Linda

Wish I Was There- Tribute to Bob Ross Linda Cleary 2014 Oil, Acrylic on Canvas

Wish I Was There- Tribute to Bob Ross
Linda Cleary 2014
Oil, Acrylic on Canvas

Side-View Wish I Was There- Tribute to Bob Ross Linda Cleary 2014 Oil, Acrylic on Canvas

Side-View
Wish I Was There- Tribute to Bob Ross
Linda Cleary 2014
Oil, Acrylic on Canvas

Close-Up 1 Wish I Was There- Tribute to Bob Ross Linda Cleary 2014 Oil, Acrylic on Canvas

Close-Up 1
Wish I Was There- Tribute to Bob Ross
Linda Cleary 2014
Oil, Acrylic on Canvas

Close-Up 2 Wish I Was There- Tribute to Bob Ross Linda Cleary 2014 Oil, Acrylic on Canvas

Close-Up 2
Wish I Was There- Tribute to Bob Ross
Linda Cleary 2014
Oil, Acrylic on Canvas

Close-Up 3 Wish I Was There- Tribute to Bob Ross Linda Cleary 2014 Oil, Acrylic on Canvas

Close-Up 3
Wish I Was There- Tribute to Bob Ross
Linda Cleary 2014
Oil, Acrylic on Canvas

 

 

 

 

Day 362- Michael Kupperman- Serious Absurdity

It’s Day 362 and I was super excited and a little nervous about doing a piece for today’s artist.  He’s one of my comic heroes and also a friend.  He’s accomplished so much the past years and I’m honored to honor him today.

Snake N' Bacon's Cartoon Cabaret- Michael Kupperman (My Bible for years...)

Snake N’ Bacon’s Cartoon Cabaret- Michael Kupperman (My Bible for years…)

I discovered his comic book, Snake N’ Bacon’s Cartoon Cabaret years ago and since then it’s changed my life and I can safely say a few people I know as well.

Funky Obsessed Robot- Michael Kupperman (First comic I read by him!)

Funky Obsessed Robot- Michael Kupperman (First comic I read by him!)

When I first read his comics I couldn’t believe that I had found something that embodied my sense of humor and absurdity so well.  I mentioned it and included a link to buy his book on my website years ago and shortly received an email from him.

At first I didn’t believe it was really him and he told me to check for his comic in The New Yorker in two weeks time.  I did and boy was my face red. We kept in touch via email and phone calls for quite a while and became friends.  To this day I’ve never met him in person and I don’t keep in touch with him as much, but I still consider him one of my favorite illustrators and authors.  I highly recommend everything he does to anyone who likes to laugh.  Please join me in honoring Michael Kupperman today!

 

 

 

Self-Portrait- Michael Kupperman

Self-Portrait- Michael Kupperman

My name is Michael Kupperman. I’m a comic artist, illustrator, and writer who lives in New York City. I’m the

Pagus- Michael Kupperman

Pagus- Michael Kupperman

author of three books of comics: Snake’N’Bacon’s Cartoon Cabaret, Tales Designed to Thrizzle Volume 1, and Tales Designed to Thrizzle Volume 2.

Twain and Einstein- Michael Kupperman

Twain and Einstein- Michael Kupperman

I also wrote and illustrated the humorous book Mark Twain’s Autobiography 1910-2010. Some of my work has been translated into animation, and I sometimes perform, occasionally dressed as Mark Twain.  I also enjoy reading my work in front of audiences. I also collect old books and magazines, and visit flea markets whenever possible. I hope you enjoy looking around my website.

Above is from his website.

Michael Kupperman, also known by the pseudonym P. Revess, is an American cartoonist and illustrator.

Snake N' Bacon- Michael Kupperman

Snake N’ Bacon- Michael Kupperman

He created the comic strips Up All Night and Found in the Street, and has written scripts for DC Comics. His work often dwells in surrealism and absurdity “played as seriously as possible.”

Tales Designed to Thrizzle #6 Cover- Michael Kupperman

Tales Designed to Thrizzle #6 Cover- Michael Kupperman

His work has appeared in The New YorkerThe New York TimesLA WeeklyThe Wall Street JournalScrewFortuneThe Independent on SundayLibérationNickelodeon MagazineThe Believer, and Heavy Metal, as well as in comics anthologiessuch as HotwireSnake EyesZero ZeroHyenaHodags and HodaddiesBlood OrangeRosetta106U, and Legal Action Comics. He has also worked on many books and projects for McSweeney’s.

Kupperman spent part of his childhood in England. Later on, back in the United States, his parents became professors at the University of Connecticut. His father is Joel J. Kupperman, the most famous of the original 1940s Quiz Kids. When Michael was young, between ages ten and twelve, he was fascinated with editorial cartoons, particularly the work of Pat Oliphant. As a young man, Kupperman did a political strip for the Washington City Paper.

HarperCollins published Kupperman’s book, Snake ‘n’ Bacon’s Cartoon Cabaret, in 2000. Parts of his work

Toilet Training Costumes- Michael Kupperman

Toilet Training Costumes- Michael Kupperman

were animated later that year for the Comedy Central show TV Funhouse, produced by Robert Smigel and Dino Stamatopoulos. In 2005, he started a comic book series called Tales Designed To Thrizzle, published by Fantagraphics. Currently Kupperman is writing sketches for a new comedy series starring Peter Serafinowicz, and he created a one-off pilot called Snake ‘N’ Bacon for the Adult Swim Network.

Biography above is from wikipedia.

I hope you enjoy my tribute today.  Twain and Einstein are some of my favorite characters…it was VERY difficult to choose what I wanted to do.  Honestly, I think that’s why I put this tribute off for so long.  At this point, I can’t really put off the last of the artists, so while I was researching his art and reading his comics last night I fell upon a drawing of Twain that he did and had the idea for this piece.  I pretty much recreated that drawing and was going to just have me kissing Twain when I pictured Einstein in the background…then all the pieces fell together.  I really wanted to capture his artistic style and humor.  Although I’m sure I couldn’t completely capture his humor.  He is a genius.  Enjoy and I’ll see you tomorrow on Day 363…only 3 left!  Eek.

Best,

Linda

Choosing Twain- Tribute to Michael Kupperman Linda Cleary 2014 Acrylic on Canvas

Choosing Twain- Tribute to Michael Kupperman
Linda Cleary 2014
Acrylic on Canvas

Side-View Choosing Twain- Tribute to Michael Kupperman Linda Cleary 2014 Acrylic on Canvas

Side-View
Choosing Twain- Tribute to Michael Kupperman
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Choosing Twain- Tribute to Michael Kupperman Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Choosing Twain- Tribute to Michael Kupperman
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Choosing Twain- Tribute to Michael Kupperman Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Choosing Twain- Tribute to Michael Kupperman
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Choosing Twain- Tribute to Michael Kupperman Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Choosing Twain- Tribute to Michael Kupperman
Linda Cleary 2014
Acrylic on Canvas

Day 360- Marcel Duchamp- You Cannot Define Art

It’s Day 360 and now I actually have 5 left to go.  I’ve been putting off today’s artist for a long time because he’s one of my favorites, but I was so nervous about tackling his style.  I’m glad that I waited until the tail end of my project because I feel like I’ve learned/experienced enough to mildly pull it off.  Please join me in honoring Marcel Duchamp today.

Marcel Duchamp

Marcel Duchamp

 

Marcel Duchamp, French  (July 28, 1887- October 2, 1968)

“You cannot define electricity. The same can be said of art. It is a kind of inner current in a human being, or something which needs no definition.”

Chess Players- Marcel Duchamp

Chess Players- Marcel Duchamp

Few artists can boast having changed the course of art history in the way that Marcel Duchamp did. Having assimilated the lessons of Cubism and Futurism, whose joint influence may be felt in his early paintings, he spearheaded the American Dada movement together with his friends and collaborators Picabia and Man Ray. By challenging the very notion of what is art, his first readymades sent shock waves across the art world that can still be felt today.

Duchamp’s ongoing preoccupation with the mechanisms of desire and human sexuality as well as his fondness for wordplay aligns his work with that of Surrealists, although he steadfastly refused to be affiliated with any specific artistic movement per se. In his insistence that art should be driven by ideas above all, Duchamp is generally considered to be the father of Conceptual art.
His refusal to follow a conventional artistic path, matched only by a horror of repetition which accounts for the

Parva Domus, Magna Quies - Marcel Duchamp

Parva Domus, Magna Quies – Marcel Duchamp

relatively small number of works Duchamp produced in the span of his short career, ultimately led to his withdrawal from the art world. In later years, Duchamp famously spent his time playing chess, even as he labored away in secret at his last enigmatic masterpiece, which was only unveiled after his death in 1968.

Coined by Duchamp, the term “readymade” came to designate mass-produced everyday objects taken out of their usual context and promoted to the status of artworks by the mere choice of the artist. A performative act as much as a stylistic category, the readymade had far-reaching implications for what can legitimately be considered an object of art.
Nude Descending a Staircase- Marcel Duchamp

Nude Descending a Staircase- Marcel Duchamp

Duchamp rejected purely visual or what he dubbed “retinal pleasure,” deeming it to be facile, in favor of more intellectual, concept-driven approaches to art-making and, for that matter, viewing. He remained committed, however, to the study of perspective and optics which underpins his experiments with kinetic devices, reflecting an ongoing concern with the representation of motion and machines common to Futurist and Surrealist artists at the time.

A taste for jokes, tongue-in-cheek wit and subversive humor, rife with sexual innuendoes, characterizes Duchamp’s work and makes for much of its enjoyment. He fashioned puns out of everyday expressions which he conveyed through visual

King and Queen surrounded by swift nudes - Marcel Duchamp

King and Queen surrounded by swift nudes – Marcel Duchamp

means. The linguistic dimension of his work in particular paved the way for Conceptual art.

Marcel Duchamp was raised in Normandy, in a family of artists. His father was mayor of Blainville and his mother raised their seven children and painted landscapes depicting the French countryside. Family time was spent playing chess, reading, painting, and playing music.
Fountain 1917, replica 1964 Marcel Duchamp 1887-1968 Purchased with assistance from the Friends of the Tate Gallery 1999

Fountain 1917, replica 1964 Marcel Duchamp 1887-1968 Purchased with assistance from the Friends of the Tate Gallery 1999

One of Marcel’s earliest artworks, Landscape at Blainville (1902), painted at age fifteen, reflected his family’s love of Claude Monet. Marcel was close to his two older brothers, and in 1904, after both had left home to become artists, he joined them in Paris to study painting at Académie Julian. His brother, Jacques Villon, supported him during his studies, and Marcel earned some income by working as a cartoonist. Duchamp’s early drawings evince his ongoing interest in visual and verbal puns.

After he withdrew from the art world, Duchamp remained a passive, if influential, presence in New York avant-garde circles until he was rediscovered in the 1950s by Robert Rauschenberg and Jasper Johns. Duchamp’s insistence that art should be an expression of the mind rather than the eye or the hand spoke to Minimalists and Conceptual artists alike.
It ushered in a new era summed up by Joseph Kosuth’s claim that “all art (after Duchamp) is conceptual (in

Yvonne and Magdeleine Torn in Tatters- Marcel Duchamp

Yvonne and Magdeleine Torn in Tatters- Marcel Duchamp

nature) because art only exists conceptually.” The seminal concept of the mass-produced readymade was eagerly seized upon not only by Andy Warhol and other Pop artists who claimed Duchamp as their founding father but also, owing to its performative aspects, by FluxusArte Povera and Performance artists.

Portrait of Chess Players- Marcel Duchamp

Portrait of Chess Players- Marcel Duchamp

Duchamp’s radical critique of art institutions made him a cult figure for generations of artists who, like him, refused to go down the path of a conventional, commercial artistic career.

Though his work was admired for its wide-ranging use of artistic materials and mediums, it is the theoretical thrust of Duchamp’s eclectic but relatively limited output that accounts for his growing impact on successive waves of twentieth-century avant-garde movements and individual artists who openly acknowledged his influence.

On his attitude about art: “It is paradoxical. It is almost schizophrenic. On one side I worked from a very

Portrait of Dulcinea- Marcel Duchamp

Portrait of Dulcinea- Marcel Duchamp

intellectual form of activity, and on the other de-deifying everything by more materialistic thoughts.”

On the readymade: “The readymade is the consequence of the refusal which made me say: There are so many people who make pictures with their hands, that one should end up not using the hand.”

On chess: “I am still a victim of chess. It has all the beauty of art, and much more. It cannot be commercialized. Chess is much purer than art in its social position.”

Biography is from The Art Story website.

I hope you enjoy my tribute to the great Marcel Duchamp today.  I had a surprisingly relaxing time creating it today!  I wanted to incorporate his love for chess.  I will see you tomorrow on Day 361…I’m going to try and have a relaxing rest of the day now. 🙂

Best,

Linda

Strategy- Tribute to Marcel Duchamp Linda Cleary 2014 Acrylic & Crackle paint on Canvas

Strategy- Tribute to Marcel Duchamp
Linda Cleary 2014
Acrylic & Crackle paint on Canvas

Side-View Strategy- Tribute to Marcel Duchamp Linda Cleary 2014 Acrylic & Crackle paint on Canvas

Side-View
Strategy- Tribute to Marcel Duchamp
Linda Cleary 2014
Acrylic & Crackle paint on Canvas

Close-Up 1 Strategy- Tribute to Marcel Duchamp Linda Cleary 2014 Acrylic & Crackle paint on Canvas

Close-Up 1
Strategy- Tribute to Marcel Duchamp
Linda Cleary 2014
Acrylic & Crackle paint on Canvas

Close-Up 2 Strategy- Tribute to Marcel Duchamp Linda Cleary 2014 Acrylic & Crackle paint on Canvas

Close-Up 2
Strategy- Tribute to Marcel Duchamp
Linda Cleary 2014
Acrylic & Crackle paint on Canvas

Close-Up 3 Strategy- Tribute to Marcel Duchamp Linda Cleary 2014 Acrylic & Crackle paint on Canvas

Close-Up 3
Strategy- Tribute to Marcel Duchamp
Linda Cleary 2014
Acrylic & Crackle paint on Canvas

Day 358- Mark Ryden- “True Magic is All Around Us”

It’s Day 358 and I can’t believe my project is coming to an end.  It’s also Christmas eve and I think my plan is to try and relax tonight!  My arm is hurting and last night we had a holiday get together with friends.  I’m ready to give my elbow a huge rest in the new year!  BUT today I spent a large portion of my day tackling my painting.  It was extremely challenging and difficult.  One of my favorite artists and one of the most difficult in my opinion regarding his style and the materials I dealt with.  Please join me in honoring Mark Ryden today.

Mark Ryden

Mark Ryden

Mark Ryden

Mark Ryden

Mark Ryden (born January 20, 1963) is an American painter, part of the Lowbrow (or Pop Surrealist) art movement. He was dubbed “the god-father of pop surrealism” by Interview Magazine. Ryden’s aesthetic is developed from subtle amalgams of many sources: from Ingres, David and other French classicists to Little Golden Books. Ryden also draws his inspiration from anything that will evoke mystery; old toys, anatomical models, stuffed animals, skeletons and religious ephemera found in flea markets.

Ryden was born in Medford, Oregon on January 20, 1963, but raised in Southern California. Ryden is the son of Barbara and Keith Ryden. His

Mark Ryden

Mark Ryden

father made a living painting, restoring and customizing cars.  He has two sisters and two brothers, one a fellow artist named Keyth Ryden, who works under the name KRK. Ryden graduated from the Art Center College of Design inPasadena, in 1987.

From 1988 to 1998 Ryden made his living as a commercial artist. During this period Ryden created numerous album covers including, Michael Jackson’s Dangerous, Red Hot Chili Peppers’ One Hot Minute, and Aerosmith’s Love in an Elevator.

Fur Girl- Mark Ryden

Fur Girl- Mark Ryden

Also during this time, Ryden created book covers including Stephen King’s novel Desperation and The Regulators. Ryden made a living as a commercial artist until his work was taken up by Robert Williams, a former member of the Zap Comix collective, who in 1994 put it on the cover of Juxtapoz, a magazine devoted to “lowbrow art”.

Ryden’s solo debut show entitled “The Meat Show” was in Pasadena, California in 1998. Meat is a reoccurring theme in Ryden’s work. Ryden observes the disconnect in our contemporary culture between meat we use for food and the living, breathing creature it comes from. “I suppose it is this contradiction that

Mark Ryden

Mark Ryden

brings me to return to meat in my art.” According to Ryden, meat is the physical substance that makes all of us alive and through which we exist in this reality. All of us are wearing our bodies, which are like a garment of meat.

A midcareer retrospective, “Wondertoonel,” which refers to a cabinet of curiosities or Wunderkammer (“wonder-room”), was co-organized in 2004 by the Frye Museum in Seattle and the Pasadena Museum of California Art. It was the best attended exhibition since the Frye Art Museum opened in 1952, and also broke attendance records in Pasadena. Debra Byrne, curator at the Frye at the time of Ryden’s exhibition, placed Ryden’s work in the camp of the

Yoshi the Forest Spirit- Mark Ryden

Yoshi the Forest Spirit- Mark Ryden

carnivalesque—a strain of visual culture rooted in such works as Hieronymous Bosch’s Garden of Earthly Delights. According to the Russian author and literary critic Mikhail Bakhtin (1895–1975), there are three forms of carnivalesque art—the ritualized spectacle, the comic composition and various genres of billingsgate (foul language)—all three of which are interwoven in Ryden’s work.

In 2007, “The Tree Show” opened at the Michael Kohn Gallery, Los Angeles. In this show Ryden explores the modern human experience of nature.  Ryden explains “Some people look at these massive trees and feel a sort of spiritual awe looking at them, and then other people just want to cut them up and sell them, they only see a commodity”. Ryden has created limited editions of his art to raise money for the Sierra Club and Nature Conservancy.

In 2009, Ryden’s exhibition “The Snow Yak Show” was shown at the Tomio Koyama Gallery in Tokyo. In this

The Butcher Bunny- Mark Ryden

The Butcher Bunny- Mark Ryden

exhibition Ryden’s compositions were more serene and suggestive of solitude, peacefulness and introspection.

In 2010, “The Gay 90’s: Old Tyme Art Show” debuted at Paul Kasmin Gallery in New York. The central theme the show referenced the idealism and sentimentalism of the 1890s while addressing the role of kitsch and nostalgia in our current culture. Here Ryden explores the line between attraction and repulsion to kitsch. According to The New York Times, “Ryden’s pictures hint at the psychic stuff that pullulates beneath the sentimental, nostalgic and naïve surface of modern kitsch.”

Ryden’s “The Tree of Life” painting was included in the exhibition “The Artist’s Museum, Los Angeles Artists 1980-2010” at The Museum of Contemporary Art, Los Angeles (MOCA). The exhibition showcased artists who have helped shape the artistic dialogue in Los Angeles since the founding of MOCA over 30 years ago. Ryden hung on the same wall as Robert Williams.

Mark Ryden

Mark Ryden

On May 13, 2014, Ryden released an album entitled ‘The Gay Nineties Old Tyme Music: Daisy Bell,’ that features Tyler the Creator,Weird Al, Katy Perry, Stan Ridgway of Wall Of Voodoo, and Danny Elfman, Mark Mothersbaugh of Devo, Nick Cave, Kirk Hammettof Metallica, and Everlast, all giving a different rendition of the same song, Daisy Bell (Bicycle Built for Two). The proceeds from the signed and limited edition record, benefited Little Kids Rock, a nonprofit that supports musical education in disadvantaged elementary schools.

Ryden has two children, Rosie and Jasper. In 2009 he married artist Marion Peck in the Pacific Northwest rainforest. He currently lives in Eagle Rock, California, where he shares a studio with his wife.

Biography is from wikipedia.

“There is a very dark and painful side to life, but that is natural. People in our culture think they should never be unhappy. They think that being unhappy is unnatural. They try to make it go away. They take pills or they go to therapy to “fix” themselves. They blame themselves or others for their suffering. We need to understand that sadness is as much a part of life as joy. It would be easy just to get bitter and cold while focusing on the dark side, but there is also an amazing, wonderful side of life. If you look for it, there is true magic all around us. Maybe that sounds trite to the hardened, self-protective modern ego, but there is magiv in this miraculous life. If you open yourself up, you do make yourself vulnerable to pain but the deeper the pain you experience, the deeper joy you have.”   ― Mark Ryden

I decided to do a simple Mark Ryden tribute…painting on the wood was a little more challenging than I expected.  Again, I’m using acrylics and not oils so blending was hard and I don’t think I primed and prepped the wood as good I as I could’ve.  His paintings have such a soft look to them which for me is especially hard to emulate.  But I did something!  I think it turned out okay.  🙂  I’m sad, but also kind of excited to have this project end soon.  I think my body and brain need a rest and to get back to doing some of my other passions…like writing!

I will see you tomorrow on Day 359!  Best, Linda

Self-Portrait- Tribute to Mark Ryden Linda Cleary 2014 Acrylic on Wood Panel

Self-Portrait- Tribute to Mark Ryden
Linda Cleary 2014
Acrylic on Wood Panel

Side-VIew Self-Portrait- Tribute to Mark Ryden Linda Cleary 2014 Acrylic on Wood Panel

Side-VIew
Self-Portrait- Tribute to Mark Ryden
Linda Cleary 2014
Acrylic on Wood Panel

Close-Up 1 Self-Portrait- Tribute to Mark Ryden Linda Cleary 2014 Acrylic on Wood Panel

Close-Up 1
Self-Portrait- Tribute to Mark Ryden
Linda Cleary 2014
Acrylic on Wood Panel

Close-Up 2 Self-Portrait- Tribute to Mark Ryden Linda Cleary 2014 Acrylic on Wood Panel

Close-Up 2
Self-Portrait- Tribute to Mark Ryden
Linda Cleary 2014
Acrylic on Wood Panel

Close-Up 3 Self-Portrait- Tribute to Mark Ryden Linda Cleary 2014 Acrylic on Wood Panel

Close-Up 3
Self-Portrait- Tribute to Mark Ryden
Linda Cleary 2014
Acrylic on Wood Panel

 

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 356- R. Black- Simplicity

It’s Day 356.  I want to thank my friend Peter DeMarco for suggesting today’s artist a while back and letting me borrow a book of his art.  I had a good time with today’s piece once I figured out exactly what I wanted to paint.  His artwork is intimidating and I believe he does some of it digitally so painting the entire piece in his style took quite a bit of time and was challenging.  But I like the result.  Please join me in honoring R. Black today.

Rich Black

Oakland-based artist R. Black, who designed posters for the Occupy movement and has completed a series of posters for the San Diego Opera, poses in the San Diego Civic Center Concourse on Tuesday, Dec. 4, 2012.

Oakland-based artist R. Black, who designed posters for the Occupy movement and has completed a series of posters for the San Diego Opera, poses in the San Diego Civic Center Concourse on Tuesday, Dec. 4, 2012.

Occupy Nation- R. Black

Occupy Nation- R. Black

Below is from an interview for Voice of San Diego.  It was difficult to find an extensive biography anywhere.

From Occupy to Opera: The Education of R. Black

The artist R. Black designed posters for the Occupy movement in Oakland last year, and they picked up some steam as the movement grew nationally. A publisher chose his work for the cover of a book about Occupy.

In interviews after that, he told reporters he had a different project in his sights: opera posters.

“Anything I want to do in life, I figure out how to make a poster so I can get to it,” he said earlier this month.

Black, who’s lived in San Diego a couple of times in his life, once wanted to be a comic book artist, but began designing posters for his friends’ rock shows and it stuck. San Diego Opera’s media relations director, Edward

Underworld- R. Black

Underworld- R. Black

Wilensky, a former record store buyer, was familiar with Black’s work. He asked the artist to design posters for San Diego Opera’s upcoming season.

Though still based in the Bay Area, Black converted an orange cargo truck into a living and working quarters and lives an itinerant life these days. We caught up with him earlier this month in the Civic Center Plaza, the place where Occupy’s San Diego contingent gathered last year, also in front of the theater where San Diego Opera performs.

Seems like a pretty wide gulf between Occupy and opera.

I disagree. Opera’s made by artists. Artists are typically liberal-type people. Opera’s all about high art. Maybe more a gulf with the audience.

But when I view opera, I view the stage. I view the artists. I view how stage theater has been so instrumental in changing people’s minds, and working with movements, and creating revolutions.

Bjork Poster- R. Black

Bjork Poster- R. Black

Have you gone to much opera in your life?

I’ve been to two. I’ve listened to a lot of operas.

What strikes you about the art form?

Melodrama. High art. The costumers, the sets, the singers. They’re living instruments. People who are just getting into opera — I think people get too wrapped up in trying to watch a production like a stage show. A lot of times people lose track of the voice. The whole thing is structured around this one voice. Just a glorified singer on stage, really.

I think if people just went and listened to the voice — there’s a living instrument on stage — and really key in on that, I think it would blow people’s minds. People who are already opera-lovers are already there. But young people need to focus. Once you start listening and tapping into that singer’s emotion, and understanding what the scene’s about even if you can’t understand the language, then you can start really losing yourself. But I think a lot of young people are blocked — by the Italian or by long things that they have no clue what’s going on.

Did you know all of these operas before you did ‘em?

No. This is my university right now. Especially thinking: Opera, that’s going to be a tough crowd to appeal to. I

Show Poster- R. Black

Show Poster- R. Black

wanted to make sure I knew a lot about it. I like to watch the opera, study it, read about it, ask a bunch of questions and try to get it.

Can you tell me about your decision-making on some of these? Let’s start with “Murder in the Cathedral.”

Well, Thomas Becket gets his head cut off by four knights. So, uh, that’s what I drew.

Growing up with comic books and pulp novels and stuff, my mom was a big romance reader, so very melodramatic covers. But with comic books especially, usually the comic book has an element that doesn’t really happen in the comic. So like Spiderman’s fighting a villain, and on the cover you’ll have the villain choking his neck and hanging him over the edge. Like, “Oh, Spiderman’s getting his butt kicked by this guy!”

Murder in the Cathedral- R. Black

Murder in the Cathedral- R. Black

In the book, that scene never happens. But it doesn’t matter, because when you’re seeing the book on the shelf, it’s like, ‘Oh, Spiderman’s in trouble’ — which he is — and he’s in a fight and he could die. It’s a cliffhanger. They heighten the story from inside the comic book for the cover.

I wanted to depict the key emotion of the play and highlight that. On “Murder in the Cathedral,” I think I might’ve been watching a lot of [Quentin] Tarantino while I was doing the posters, and then influenced by movies I love as well, old 1970s samurai movies. In every samurai movie, you cut somebody’s head off and you have a fountain of blood.

Without having to use crosses — I didn’t want to make it religious — I wanted to find a way to make his collar work and make it look like his head was separated.

I love posters with couples on them, in love. Especially for an art form like opera. So many people are involved in a partnership. When in relationships, I like looking at posters and feeling that — “Aw, falling in love again!”

So you’re watching an opera you’ve never seen before. Then what happens? Do you walk around with a sketchbook?

The hardest part is thinking about the poster, thinking of the idea. I spend lots of hours walking, sitting around,

Show Poster- R. Black

Show Poster- R. Black

mulling, going into depression sometimes, thinking about how to convey a message. Once in my mind I’ve got the idea, I don’t need to spend much time at my computer at all. My style is not a very complicated style. It’s not the style; it’s coming up with the idea that’s the hard part.

I generally walk about three or four hours a day.

What’s still out there; what’s the holy grail?

I would like to go bigger — directing something. Set designs, production designs, movie designs. Anything more grandiose that someone wants to throw a bunch of money behind. If someone just had that faith, because I haven’t done it yet.

I was thinking space tourism is coming up relatively soon. I’d love to be one of the first to do a space tourism poster. Like the old travel posters.

R. Black

R. Black

Do you make a living in art?

I say when you want to be an artist full time, you have to know how to live simply. It comes in waves. You can be rich one moment and poor the next. But if you don’t know how to be poor, you’re screwed. I think the reason why most people stop doing art is because it’s not a high-level living and they don’t know how to live simply. They need a house, they need a car. And all are great things. But, like being a monk, you have to know how to live very simply. And you have to make sacrifices.

I really focused my life on practicing what I preach: simplicity.

Description of R. Black’s Art Book Futura from Dark Horse Comics.

Sparkling as polished chrome, slick as oiled leather, hard as a scorned woman’s stare, the poster art of R. Black is renowned for its elegant line, razor-sharp design, and dark pulp motifs, creating an instantly recognizable synergy of cool elegance and hot eroticism. R. Black’s dark world is a steamy landscape of leggy sirens, gleaming

Futura Cover- R. Black

Futura Cover- R. Black

bikes, spiked heels, and leather-clad devils. Black’s voluminous catalog of work includes striking images created for Bauhaus, Elvis Costello, Misfits, GWAR, Ministry, and countless more, plus numerous album covers, t-shirt designs, and magazine covers, plus a memorable series of images for Original Sin Hard Cider, featured in this volume. Futura: The Art of R. Black is the first published collection of Black’s striking designs. Foreword by Brian Ewing.

* R. Black’s work is well known among rock fans and amongst collectors of the booming rock poster market.

~

I hope you enjoy my piece today!  I had a great time creating it.  I took his advice and kept it simple. 🙂  I will see you tomorrow on Day 357!

Best,

Linda

L' Art De Linda Cleary- Tribute to R. Black Linda Cleary 2014 Acrylic on Canvas

L’ Art De Linda Cleary- Tribute to R. Black
Linda Cleary 2014
Acrylic on Canvas

Side-View L' Art De Linda Cleary- Tribute to R. Black Linda Cleary 2014 Acrylic on Canvas

Side-View
L’ Art De Linda Cleary- Tribute to R. Black
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 L' Art De Linda Cleary- Tribute to R. Black Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
L’ Art De Linda Cleary- Tribute to R. Black
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 L' Art De Linda Cleary- Tribute to R. Black Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
L’ Art De Linda Cleary- Tribute to R. Black
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 L' Art De Linda Cleary- Tribute to R. Black Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
L’ Art De Linda Cleary- Tribute to R. Black
Linda Cleary 2014
Acrylic 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 354- Mark P. Wilson- For Your Amusement

It’s Day 354 and I am so excited to pay tribute to another close buddy of mine…one of my bestest friends!  I’ve known him for years and we used to draw together all the time when I lived in Seattle and I couldn’t believe how hard I laughed at the characters he used to come up with.  I am constantly pushing him to do more art, draw comics and eventually make cartoons because I truly believe it’s one of his greatest talents.  Please join me in honoring Mark P. Wilson today!  I asked him to write his own biography as well.  It’s kind of short and I also wanted to pack his art into it.  Hope you don’t mind!

Mark P. Wilson

Mark P. Wilson

Magical Unicorn Tea Party- Mark P. Wilson

Magical Unicorn Tea Party- Mark P. Wilson

Biography, huh?  Well, I was born in March 13, 1976 and raised in Cedar Falls, IA.  I watched a ton of cartoons growing up and always enjoyed them all, even the crappy 70s low budget corner cutting ones and the weird asian import ones with bad dubbing.  I also really love the really old ones the Ub Iwerks, Max Fleischer, and Silly Symphonies stuff.

When Pee-wee’s Playhouse came out, I totally freaked out and was an obsessive fan.  Loved reading comics

Space Gramps- Mark P. Wilson

Space Gramps- Mark P. Wilson

(from Donald Duck and Harvey comics to Archie comics to superhero stuff) and satire magazines like Mad and Cracked and was very inspired by my older brothers attempts at this style of satire, which consisted mostly of poop jokes.

My Uncle Bruce was an abstract painter and his pieces hung around our house.  They were an influence throughout my childhood.  Also, our Grandma used to wear these wigs to work and she gave her old clothes and wigs to my mom for dress-up clothes for the daycare and those got a ton of use and appear in many of our movies as well.  I think that inspire some of the outfits my characters wear.

Mark P. Wilson

Mark P. Wilson

I was also really into sugar cereal mascots and marketing and McDonald land and all that Sid and Marty Krofft stuff.  I liked making up continued stories using these characters that seemed so obviously limited and disposable in nature.   I think my work is very crude/unpolished but the ideas are fun and the emotion comes through.  I tend to use bold black lines and bright colors because I’m a big fan of stain-glass windows.  I try to make my work have that same luminescent feel.

I think that I make art now for the same reason that I started doing it, to amuse myself and others.    I moved to Seattle

Karmic Vortex- Mark P. Wilson

Karmic Vortex- Mark P. Wilson

when I was 19 and eventually met Linda Cleary there and she showed me Michael Kupperman’s work and forced me to do a bunch of drawings and that started setting some things in motion.

I need to work more consistently, recently I’ve been into the idea of animating some of these creatures and hopefully that will actually happen (I have the software).

I currently live in Seoul, Korea and teach kindergarten.  I love encouraging

Mark P. Wilson

Mark P. Wilson

the kids with art projects inspired by their individual creativity.  In Korea there tends to be an element of conformity and I try to get the kids to trust their own artistic instincts.

~

I hope you enjoy my tribute today.  I had a ton of fun painting it.  It brought back memories and inspired me to get back into doodling and creating some fun absurd characters.

I will see you tomorrow on Day 355!  Only 10 more left!

Best,
Linda

How 2 Be Cool- Tribute to Mark P. Wilson Linda Cleary 2014 Acrylic & Pen and Ink on Canvas

How 2 Be Cool- Tribute to Mark P. Wilson
Linda Cleary 2014
Acrylic & Pen and Ink on Canvas

Side-View How 2 Be Cool- Tribute to Mark P. Wilson Linda Cleary 2014 Acrylic & Pen and Ink on Canvas

Side-View
How 2 Be Cool- Tribute to Mark P. Wilson
Linda Cleary 2014
Acrylic & Pen and Ink on Canvas

Close-Up 1 How 2 Be Cool- Tribute to Mark P. Wilson Linda Cleary 2014 Acrylic & Pen and Ink on Canvas

Close-Up 1
How 2 Be Cool- Tribute to Mark P. Wilson
Linda Cleary 2014
Acrylic & Pen and Ink on Canvas

Close-Up 2 How 2 Be Cool- Tribute to Mark P. Wilson Linda Cleary 2014 Acrylic & Pen and Ink on Canvas

Close-Up 2
How 2 Be Cool- Tribute to Mark P. Wilson
Linda Cleary 2014
Acrylic & Pen and Ink on Canvas

Close-Up 3 How 2 Be Cool- Tribute to Mark P. Wilson Linda Cleary 2014 Acrylic & Pen and Ink on Canvas

Close-Up 3
How 2 Be Cool- Tribute to Mark P. Wilson
Linda Cleary 2014
Acrylic & Pen and Ink on Canvas

 

 

 

Day 352- Alice Neel- “Art is Art”

It’s Day 352 and it was fun painting today’s piece.  I’m not sure if I got the artist’s style quite right, but I did choose quite the awkward photo to paint…so hopefully I captured the artist’s spirit.  Please join me in honoring Alice Neel today.  She was such a great artist.  I love the subjects of her pieces and in my opinion I thought she was way ahead of her time with her style and content.

Alice Neel

Alice Neel

Geoffrey Hendricks and Brian, 1978- Alice Neel

Geoffrey Hendricks and Brian, 1978- Alice Neel

Alice Neel (January 28, 1900 – October 13, 1984) was an American visual artist, who was particularly well known for oil painting and for her portraits depicting friends, family, lovers, poets, artists and strangers. Her paintings are notable for their expressionistic use of line and color, psychological acumen, and emotional intensity. Neel was called “one of the greatest portrait artists of the 20th century” by Barry Walker, curator of modern and contemporary art at the Museum of Fine Arts, Houston, which organized a retrospective of her work in 2010.

Alice Neel was born on January 28, 1900 in Merion Square, Pennsylvania to George Washington Neel, an accountant for the Pennsylvania Railroad, and Alice Concross Hartley Neel. In mid-1900, her family moved to the rural town of Colwyn, Pennsylvania. She was the third of four children. She was raised into a straight-laced middle-class family during a time when there were limited expectations and opportunities for women. Her mother had said to her, “I don’t know what you expect to do in the world, you’re only a girl.

In 1918, after graduating High School, she took the Civil Service exam and got a high-paying clerical position in order to help support her parents. After three years of work, taking art classes by night in Philadelphia, Neel enrolled in the Fine Art program at the Philadelphia School of Design for

Self-Portrait- Alice Neel

Self-Portrait- Alice Neel

Women (now Moore College of Art) in 1921. She graduated in 1925.  Neel often said that she chose to attend an all-girls school so as not to be distracted from her art by the temptations of the opposite sex.

She met an upper-class Cuban painter in 1924 named Carlos Enríquez at the Chester Springs summer school run by PAFA. They were wed on 1 June 1925 in Colwyn, Pennsylvania. After marrying Neel eventually moved to Havana to live with Enríquez’s family. In Havana, Neel was embraced by the burgeoning Cuban avant-garde, a set of young writers, artists and musicians. In this environment Neel developed the foundations of her lifelong political consciousness and commitment to equality.  During this time, she had 7 servants and lived in a mansion.

Nancy And Olivia- Alice Neel

Nancy And Olivia- Alice Neel

Neel’s daughter, Santillana, was born on 26 December 1926 in Havana. In 1927, though, the couple returned to the United States to live in New York. Just a month before Santillana’s first birthday, she died of diphtheria. The trauma caused by Santillana’s death infused the content of Neel’s paintings, setting a precedent for the themes of motherhood, loss, and anxiety that permeated her work for the duration of her career.

Shortly following Santillana’s death, Neel became pregnant with her second child. On 24 November 1928, Isabella Lillian (called Isabetta) was born in New York City. Isabetta’s birth was the inspiration for Neel’s “Well Baby Clinic”, a bleak portrait of mothers and babies in a maternity clinic more reminiscent of an insane asylum than a nursery.

In the spring of 1930, Carlos had given the impression that he was going overseas to look for a place to life in

Andy Warhol- Alice Neel

Andy Warhol- Alice Neel

Paris. Instead, he returned to Cuba, taking Isabetta with him. Mourning the loss of her husband and daughter, Neel suffered a massive nervous breakdown, was hospitalized, and attempted suicide. She was placed in the suicide ward of the Philadelphia General Hospital.

Even in the insane asylum, she painted. Alice loved a wretch. She loved the wretch in the hero and the hero in the wretch. She saw that in

all of us, I think.

— Ginny Neel, Alice’s daughter-in-law

Abe's Grandchildren- Alice Neel

Abe’s Grandchildren- Alice Neel

Deemed stable almost a year later, Neel was released from the sanatorium in 1931 and returned to her parents’ home. Following an extended visit with her close friend and frequent subject, Nadya Olyanova, Neel returned to New York.

There Neel painted the local characters, including Joe Gould, whom she famously depicted in 1933 with multiple penises, which represented his inflated ego and “self-deception” about who he was and his unfulfilled ambitions. The painting, a rare survivor of her early works, has been shown at Tate Modern.

During the Depression, Neel was one of the first artists to work for the Works Progress Administration. At the end of 1933, Neel was hired to make a painting every six weeks. She had been living in poverty. She had an affair with a man named Kenneth Doolittle who was a heroin addict and a sailor. In 1934, he set afire 350 of her watercolors, paintings and drawings.  At this time, her husband Carlos proposed to reunite, although in the end the couple neither reunited nor officially filed for divorce.

Her world was composed of artists, intellectuals, and political leaders of the Communist Party, all of whom became

The De Vegh Twins, 1975- Alice Neel

The De Vegh Twins, 1975- Alice Neel

subjects for her paintings.  Her work glorified subversion and sexuality, depicting whimsical scenes of lovers and nudes, like a watercolor she made in 1935, Alice Neel And John Rothschild In The Bathroom, which showed the naked pair peeing. In the 1930s Neel gained a degree of notoriety as an artist, and established a good standing within her circle of downtown intellectuals and Communist Party leaders. While Neel was never an official Communist Party member, her affiliation and sympathy with the ideals of Communism remained constant.

Babies- Alice Neel

Babies- Alice Neel

In 1939 Neel gave birth to her first son, Richard, the child of Jose Santiago, a Puerto Rican night-club singer whom Neel met in 1935. Neel moved to Spanish Harlem.  She began painting her neighbors, particularly women and children. José left Neel in 1940.

Neel’s second son, Hartley, was born in 1941 to Neel and her lover, the communist intellectual Sam Brody. During this Forties, Neel made illustrations for the Communist publication, Masses & Mainstream, and continued to paint portraits from her uptown home. However, in 1943 the Works Progress Administration ceased working with Neel

, which made it harder for the artist to support her two sons. During this time Neel would shoplift and was on welfare to help make ends meet. Between 1940 and 1950, Neel’s art virtually disappeared from galleries, save for one solo show in 1944. In the 1950s, Neel’s friendship with Mike Goldand his admiration for her social realist work garnered her a show at the Communist-inspired New Playwrights Theatre. In 1959, Neel even made a film appearance after the director Robert Frank asked her to appear alongside a young Allen Ginsberg in his classic Beatnik film, Pull My Daisy. The following year, her work was first reproduced in ARTnews magazine.

Toward the end of the 1960s, interest in Neel’s work intensified. The momentum of the women’s movement led to increased attention, and Neel became an icon for feminists. In 1970, she was commissioned to paint the feminist activist Kate Millett for the cover of Time magazine. Millett refused

White Chapel- Alice Neel

White Chapel- Alice Neel

to sit for Neel; consequently, the magazine cover was based off a photograph.

By the mid-1970s, Neel had gained celebrity and stature as an important American artist. In 1979, President Jimmy Carter presented her with a National Women’s Caucus for Artaward for outstanding achievement. Neel’s reputation was at its height at the time of her death in 1984.

Neel’s life and works are featured in the documentary Alice Neel, which premiered at the 2007 Slamdance Film Festival and was directed by her grandson, Andrew Neel. The film was given a New York theatrical release in April of that year.

In 1974, Neel’s work was given a retrospective exhibition at the Whitney Museum of American Art, and posthumously, in the summer of 2000, also at the Whitney. The first exhibition dedicated to Neel’s works

Alice Neel

Alice Neel

in Europe was held in London in 2004 at the Victoria Miro Gallery. Jeremy Lewison, who had worked at the Tate, was the curator of the collection. In 2001 the Philadelphia Museum of Art organized a retrospective of her art entitled Alice Neel. She was the subject of a retrospective entitled Alice Neel: Painted Truths organized by the Museum of Fine Arts, Houston in Texas, which was on view from March 21-June 15, 2010. The exhibition traveled to Whitechapel Gallery, London, and Moderna Museet Malmö, Malmö, Sweden. In 2013, the first major presentation of the artist’s watercolors and drawings was on view at Nordiska Akvarellmuseet in Skärhamn, Sweden.

Biography is from wikipedia.

When I was in my studio I didn’t give a damn what sex I was… I thought art is art. (Alice Neel)

I hope you enjoy my piece today.  It was taken from a real life awkward photo.  I feel like if I had more time I could’ve perfected her style a bit more, but that’s okay.  I enjoyed it and I will see you tomorrow on Day 352.

Best,

Linda

 

Bath Time!- Tribute to Alice Neel Linda Cleary 2014 Acrylic & Watercolor on Canvas

Bath Time!- Tribute to Alice Neel
Linda Cleary 2014
Acrylic & Watercolor on Canvas

Side-View Bath Time!- Tribute to Alice Neel Linda Cleary 2014 Acrylic & Watercolor on Canvas

Side-View
Bath Time!- Tribute to Alice Neel
Linda Cleary 2014
Acrylic & Watercolor on Canvas

Close-Up 1 Bath Time!- Tribute to Alice Neel Linda Cleary 2014 Acrylic & Watercolor on Canvas

Close-Up 1
Bath Time!- Tribute to Alice Neel
Linda Cleary 2014
Acrylic & Watercolor on Canvas

Close-Up 2 Bath Time!- Tribute to Alice Neel Linda Cleary 2014 Acrylic & Watercolor on Canvas

Close-Up 2
Bath Time!- Tribute to Alice Neel
Linda Cleary 2014
Acrylic & Watercolor on Canvas

Close-Up 3 Bath Time!- Tribute to Alice Neel Linda Cleary 2014 Acrylic & Watercolor on Canvas

Close-Up 3
Bath Time!- Tribute to Alice Neel
Linda Cleary 2014
Acrylic & Watercolor on Canvas