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“Telemath” John McHale 1958

“unknown title” Jean-Michel Basquiat around 1980?

The most noticeable element is the internal organs.

The most noticeable difference, Basquiat is Black and Mchale white.

McHale did his painting before Basquiat. I wonder if Basquiat has seen his work?

http://www.guardian.co.uk/artanddesign/2013/jan/22/jean-michel-basquiat-william-burroughs

To April 6, 2013

• About Exhibition
• View Images
• Installation Video
• Artist Info
• Press

JEAN-MICHEL BASQUIAT
Untitled, 1981
Acrylic, oil stick and pencil on canvas
72 x 60 inches  (182.9 x 152.4 cm)
© The Estate of Jean-Michel Basquiat/ADAGP, Paris, ARS, New York 2013

Download Press Release PDF (50 Kb)

Opening reception: Thursday, February 7th, from 6:00 to 8:00pm

Gagosian Gallery

555 West 24th Street
New York, NY 10011
T. 212.741.1111 F. 212.741.9611

http://www.gagosian.com/

Installation view of Jean-Michel Basquiat at Gagosian Gallery. Photo by Rob McKeever. Courtesy Gagosian Gallery.

Installation view of Jean-Michel Basquiat at Gagosian Gallery. Photo by Rob McKeever. Courtesy Gagosian Gallery.

On view at Gagosian Gallery in New York are nearly sixty works by Basquiat, which span the length of his artistic career, from 1981 through 1988. Many of the works are large-scale and incorporate a wide variety of media, including acrylic, spray paint, oil stick, marker, and collage elements. Basquiat was known for scavenging his materials, and the Gagosian show succeeds in combining a diverse array of surfaces, like plywood, doors, and make-shift canvases constructed from irregular pieces of linen stapled to wooden shipping pallets. In a way, his foraged canvases epitomize the furious pace at which Basquiat was known to work, capturing the sense that the work he produced could scarcely keep up with his creative energy.

Installation view of Jean-Michel Basquiat at Gagosian Gallery. Photo by Rob McKeever. Courtesy Gagosian Gallery.

Some works in the show carry the names and images of the musicians and athletes that Basquiat admired, like Cassius Clay and Sugar Ray Robinson. One work, titled Now’s The Time from 1985 is simply an eight-foot record, imperfectly cut from plywood, Basquiat’s homage to the jazz saxophonist Charlie Parker.

Installation view of Jean-Michel Basquiat at Gagosian Gallery. Photo by Rob McKeever. Courtesy Gagosian Gallery.

Before his rise to fame, Basquiat would tag buildings in lower Manhattan with friend and fellow artist Al Diaz, work that they would sign with the moniker ‘SAMO’ (meaning “same old shit”). The influence of his work as a graffiti artist was forever integrated into his aesthetic as a painter, as many works in the show incorporate text, and are drawn in a gestural, expressionistic fashion typical of street art. The size of the show is also evidence of his prolificness, another quality he retained from his early experiences creating graffiti art.

Jean-Michel Basquiat | Irony of a Negro Policeman, 1981, Acrylic and paint stick on wood, 72 x 48 inches

Several paintings demonstrate the artist’s sense of humor, like Onion Gum, on which he scrawled “onion gum makes your mouth taste like onion” multiple times. Others are social commentaries on race and society, like Irony of Negro Policeman. The painting’s subject stems from Basquiat’s belief that blacks in the US are subject to a white-dominated system, which he saw as oppressing them within a structure similar to Jim Crow. He found it ironic that African-Americans would choose to become policemen, and work to enact laws meant to oppress them. Basquiat painted the policeman in this image wearing a skeleton-like mask, the figure’s fractured body symbolizing his disjointed and incongruous position within society. The word “pawn” is scrawled in the bottom right-hand corner, further driving home his point.

Jean-Michel Basquiat | La Hara, 1981, Acrylic and oil paintstick on canvas, 72 x 48 inches, © The Estate of Jean-Michel Basquiat/ADAGP, Paris, ARS, New York 2013 Courtesy Gagosian Gallery

A counter piece to Irony is Basquiat’s painting of a white policeman titled La Hara, Puerto Rican slang for ‘the police,’ which carries a derogatory connotation. In this painting Basquiat depicts the policeman with a disproportionately large chest, his figure filling most of the frame, and with red eyes, representing him as an overpowering, irrational force. However, his puffed chest is also hollow, and the figure lacks limbs, confining his mobility, an idea reinforced by his position behind a fence, painted in the lower left. Through works like this one, Basquiat was able to claim power over his oppressors, an ability he may have felt stifled from in reality.

Jean-Michel Basquiat | Untitled (Two Heads on Gold), 1982, Acrylic and oil paintstick on canvas, 80 x 125 inches, © The Estate of Jean-Michel Basquiat/ADAGP, Paris, ARS, New York 2013. Courtesy Gagosian Gallery

Other symbols of empowerment can be seen throughout the paintings on display, such as the repeated appearance of crowns, often used in self-portraits. The crown was a particularly dual-purpose motif for Basquiat, in that it alluded to majestic and kingly qualities he attributed to himself, as well as it was visually similar to the idiosyncratic dreadlocks he sported. Basquiat also recognized the crown as a parallel symbol for fallibility in religious iconography. In a large double-panel painting titled In Italian from 1983, he has written the words “crown of thorns,” only to cross out the final word in the phrase.

Jean-Michel Basquiat | In Italian, 1983, Acrylic and oil paintstick on canvas with wooden supports and five smaller canvases painted with ink marker, 2 panels: 88 1/2 x 80 inches overall, © The Estate of Jean-Michel Basquiat/ADAGP, Paris, ARS, New York 2013. Courtesy Gagosian Gallery

One of Basquiat’s last works, Riding with Death from 1988, is displayed prominently in the final gallery of the Gagosian show, a placement that implies its prescient subject matter. The enormous canvas has been grounded with a dull, gray paint, a departure from the colorful backgrounds the artist typically employed. In the work’s center, a faceless figure is shown riding a skeleton, the back of its head facing the viewer. At this point in his career, the fame that Basquiat had achieved as an artist also became a double-edged sword. While it allowed for him and his family to live comfortably, it also enabled his drug addiction to become unmanageable, and eventually, fatal.

Jean-Michel Basquiat | Riding With Death, 1988, Acrylic and oil paint stick on linen, 98 x 114 inches

Since the artist’s death in 1988, his works have continued to be highly sought-after, driving their prices upwards of $16 million in recent auctions. The works on view at Gagosian are entirely culled from private collections, creating an ideal opportunity to see significant works from across the artist’s career in a single place.

Installation view of Jean-Michel Basquiat at Gagosian Gallery. Photo by Rob McKeever. Courtesy Gagosian Gallery.

— 

Jean-Michel Basquiat was born in Brooklyn, New York in 1960. His mother was Puerto Rican, and his father Haitian. Basquiat become known as a graffiti artist in New York in the late 1970s, and exhibited paintings in his first gallery show in 1980, The Times Square Show. By 1982 his work was included in a show at PS1 in New York, and Documenta 7 in Kassel, Germany. He has had several posthumous retrospective exhibitions, including a 1993 show organized by the Whitney Museum, and a 2005 show organized by the Brooklyn Museum.

Jean-Michel Basquiat is on view at the Gagosian Gallery in New York through April 6^th.

Nadiah Fellah is a graduate student of Art History at The Graduate Center, CUNY in New York.

Jean Michel Basquiat has served as an inspiration to GWOP Unversity.  This documentary, Radiant Child is a respectfully vivid, accurate, and entertaining homage to a painter who led a radical life and left an ambitious body of work behind after his premature death.

Basquiat meets nivardthoes.

Original Design: nivardthoes

Adrien Ghenie @ Pace Gallery. Learn More Here. 

Arman, Untitled from Cycles 1995 @ Paul Kasmin Gallery

Arman, Slow Motion 1995 @ Paul Kasmin Gallery. See More Here. 

Will Ryman, Bird 2012 @ Paul Kasmin Gallery. More Info Here. 

sock monkey in Jean-Michel Basquiat new work @ Gagosian

Miroslaw Balka, The Order of Things 2013 @ Gladstone Gallery. 

Graffitti in Chelsea. 

Tameka Norris & Hans Berg, Bang Your Little Drums 2013 @ Zach Feuer Gallery 

Tameka Norris & Hans Berg, Installation Shot @ Zach Feuer Gallery

Flipping through a Stephen Shore book @ Aperture Gallery. 

Miroslaw Balka, The Order of Things 2013

I’m feeling reminiscent today.  Maybe I’m not over last week’s ode to the Ken doll.  Maybe it’s because spring is in the air.  Probably it’s because hoofing it up the block in a grand city makes me think about just how grand that city is.

Yes, Movers, I’m talking about NYC.  Whether you’re born and bred or you remote in regularly, New York has a magic that’s all its own.  So it’s no surprise that this magic has been captured and canned in silver screen silicone for generations.  Here are some of my favorites.  Don’t be shy – let us know what New York movies top your list.

Breakfast at Tiffany’s

For the sake of my mad love for this film, I’ll ignore the fact that the Hollywood ending mangles Capote’s original final chapter.  (Have you read the book?  You should read the book.)  Taken in its own right, BaT is the stuff of legend.  A coquettish quirky muse who sashays to the tune of her own Mancini while running from the nightmare of conventional life?  Holly’s got her own lessons to learn before she can go lightly, and you’d do well to take note.  But meanwhile, you can stand outside of Tiffany’s and dream.  Just don’t forget to feed Cat. 

The Seven Year Itch

While we’re talking about icons, we’ll give a nod to Marilyn.  Nobody does it like Norma Jean did it, and you can’t get more iconic than this still from the ’55 film.  It’s the sexiest anything involving a New York subway will ever be.  Enough said. 

Hello, Dolly!

Don’t laugh.  This movie defined my childhood.  Another independent dame, a jack of all trades, a woman with her feminine wiles well in hand, Dolly doesn’t just wait for a happy ending, she makes it happen.  It’s based on Thornton Wilder’s “The Matchmaker” (Have you read the play?  You should read the play.) and it’s filled to the brim with innuendo and life axioms.  Once you get over Streisand’s magnificence (as if you can), you may notice that a very young, very awkward Michael Crawford is blossoming before your eyes, bound for his inevitable reign as Broadway’s Phantom of the Opera.  

Midnight Cowboy

Odds are, you’ve never seen this movie.  So I won’t bother unpacking it.  All I want to say is: You are not a true New Yorker until you’ve slammed your pedestrian hand down on the hood of an offensive vehicle and screamed, “I’m walkin’ here!”  Go, young ones, be angry at poor drivers. 

Newsies

Before Broadway re-wrote the ending to make the protagonist capitulate to the glitzy allure of the monopoly (this is an outrage), Newsies raised the call to seize the day and stand up to the man.  All the neighborhoods get a shout-out in this one, represented by the most darling array of boys that were totally crush-worthy when we were 13.  It also has a young Christian Bale singing and dancing, so, there’s that.

Basquiat

When a motion picture takes on the genius of a visual artist, you have to take notice.  When at the same time it tackles socio-economic issues, drugs, disease, homelessness, and the pitfalls of the meteoric rise to popularity, it’s worth seeing.  That, and David Bowie plays Andy Warhol.  

The Devil Wears Prada

This is a fashion and lifestyle mag, and we bow before the frightening eminence of Anna Wintour, along with anyone else who knows the provenance of the stiletto.  We gaze with awe upon the unparalleled genius of Meryl Streep.  I’m gushing, I know, but when one estimable woman of power channels another, it makes me all sorts of happy.  Based on a book (Did you read the book? Don’t.) about the whiniest assistant you’ll ever come across, the movie plays its strong suits (Tucci, Streep, a stellar soundtrack, to-die-for wardrobe) enough that we don’t care if it comes up short in grand-scheme-of-things weightiness.  I know we’re supposed to hate Anne Hathaway right now, but I just can’t.  I’m sorry. 

There are a million more New York Moments in film that are worth noting, but we’d be here all day.  If you love the silver screen and you love your city, let us know what we missed in the comments, or on our Facebook page (www.facebook.com/nymoves).

#Low

Many years ago I studied Jean Michel-Basquiat in High School and In 2010 I watched the popular documentary based on his life by Tamara Davis. Though, It was eye opening to his talent/passion, the affect his lifestyle had on his nearest and dearest was left quite elusive. No too long ago I picked up this book,and (you guessed it) didn’t put it down. It is based on the journey of Suzanne (One of Basquiat’s lovers) life and how it changed when she met Jean. Strangely authored by Jennifer Clement (A Mutual friend of there’s) but also has the inclusion of Suzanne esoteric moments of thought. Its almost as though Clement tells the story how she has seen it and later Suzanne relays the story with her own words in more depth. This book tells the recklessness of life in the Art world in 80′s/90′s New York City. On the other hand, It shares the feelings, emotions and attributes that compose when ‘stupid love’ gets out of hand. As a female when reading the book authored by two females, you can only relate because we’ve all had that moment in life. She is naive though the whole of the story. But just like many others she wanted to ‘make it’ herself. There is violence, abuse that concludes with pieces of Art. Yet she stays,leaves,returns and years later still calls the book ‘ A Love Story’. I can’t blame her. Nevertheless, I can’t ruin it for those of you who want to read it. I will say that not only does this offer the knowledge of the Art Life but true life emotions. The decretion of Basquiats life, with the inflation of his wealth made me really question the quality of living.

This has to be one of my absolute favourite times of the year. You can almost feel the zappiness in the air as artist’s around the country wait to see if their work will be shortlisted for the Archibald, Wynne or Sulman Prize.

I love how it’s so contentious and there’s always a lot of snootiness and declarations of artistic wowserism. I got so excited when I saw the finalists online today, there’s a beautiful suite of work, but does feel a little samey this year. A little safe maybe?

I like this work by Abdul Abdullah, I think the crown is a gutsy touch, it harks back to Basquiat’s famous crowns (see below) but also it’s a reckless assault on your own artwork by Adbul and that has to be commended. It could have gone so horribly wrong. And that’s the joy of doing something risky on your canvases, it either ends in triumph of devastation. Such a knife edge of success and failure.

Last week, a couple of friends and I attended the opening of Basquiat’s incredible paintings at Gagosian’s gallery in Chelsea NY. When I was a young girl, I watched the film ‘Basquiat’ made in 1996, directed by Julian Schnabel, and I fell in love with the story, and the art.

It will be up until April 6. Address: 555 West 24th street.

via Jean-Michel Basquiat | Zarig’s world of gems, fashion and art.

Jean-Michel Basquiat (Photo credit: Wikipedia)

It’s about 80% anger.

—Jean Michel Basquiat

The Gagosian Gallery is presenting a major exhibition of art works by John-Michel Basquiat from February 7, 2013 until April 6, 2013. The exhibition covers Basquiats brief but meteoric career, which ended with his death at the age of 27. Basquiat has played a central role in his artistic generation as a lightning rod and a bridge between cultures.  He was born in New York in 1960 and died in the same city in 1988. He left his family home in Brooklyn at age of fifteen and took to the streets. A voracious autodidact, he became a denizen of the explosive and decadent New York Underground scene–a noise musician who loved jazz and a street poet who scrawled his sophisticated aphorisms in Magic Marker across the walls of downtown Manhattan, copyrighting them under the name SAMO. In 1981 he killed off this alter ego and began painting, first on salvaged materials then later on canvas, and making bricolage with materials scavenged from the urban

environment. He sold his first painting in 1981, and by 1982, spurred by the Neo-Expressionist art boom, his work was in great demand. It was  unprecedented for an African-American artist, and for one so young. Basquiat was a unique and prodigious talent, fusing drawing and painting with history and poetry to produce an artistic language and content that was entirely his own. Combining the tools of graffitti (Magic Marker, Spray Enamel) with those of fine art (oil and acrylic paint, collage and oil stick), his best paintings maintain a powerful tension between opposing artistic forces—expression and knowledge, control and spontaneity, savagery and wit, urbanity and primitivism—while providing acerbic commentary on the harsher realities of race, culture and society. The frenetic overall quality of many of his large works suggests a drive towards a sort of disjunctive mapping rather than the building of a classically unified composition, where seemingly unrelated marks suddenly coalesce in syncopated rhythms—like the best experimental jazz. (excerpted from the Gagosian Gallery press release)

Untitled, 1981
Acrylic and Oil stick on panel

Discography Second Miles Davis, 1983
Acrylic and Oil stick on canvas

The Thinker, 1986
Acrylic in Canvas

Dark Milk, 1986
Acrylic on Canvas with Xerox and Collage

Crowns (peso Netto), 1981
Acrylic, Oil Stick and Paper Collaged on Canvas

I really enjoyed looking at the collection of Basquiat’s work. Their quality of rawness is what really drew me to them. Why is Basquiat a person I want to wear? Because he is a great artist, a prodigy. If Basquiat was a dress or clothing, it will be one that would be expressing without being afraid, a mixture of a lot of paradoxes and discords yet when looked at works together. Do you have a person in mind that you would like to emulate as well or someone you admire?

Related articles

• ‘Jean-Michel Basquiat’ at Gagosian Gallery (galleristny.com)
• Jean-Michel Basquiat At Gagosian: Major Exhibition Reviews Meteoric Prodigy’s Brief Career (PHOTOS) (huffingtonpost.com)
• Jean-Michel Basquiat and “The Last Hollywood Africans” (repeatingislands.com)

Through April 6, 2013

555 West 24th Street

New York, NY 10011

Also, new werk. I built a massive 6 x 7′ panel. Too heavy to move, too large for the sake of material costs, but I had to do it. Then I tried to give it away to my friend Dory who refused it. Which was the genesis of my saying Fuck It, laying it on the floor and getting to work. Traditionally my work is just a manifestation of what I envision while sitting at a computer banging out a story or two. That’s the fun part, the story, whereas the crafting of the work is mostly anxiety because it HAS to be right, it HAS to be exact. Here, hmn, here’s new piece called Ape:

Like I said, it’s large and so all you get is a pic of it thru my door into the hall. What you see however is LARGE text but very little of it. My work has also traditionally been autobiographical, but for the past half year or so I’ve been feeling like that’s a trap, a small box that I’m screwed if I can’t get out of. I’ve had an interesting life, but so have you and so what? I’ve also been studying text art/ists for the last few years, I can tell you pretty much the entire history going back to Simmias of Rhodes, 3rd century B.C., and I suppose the study has been fermenting in my brain a bit, or I’m fermented, but a new direction is underway.

Of which, here’s another piece called What That Hat:

Beside the fact that you’re only seeing underpainting, initial layers before the text changes, you’re also seeing a multitude of new things:

1. Large text
2. Few words
3. Lack of biography
4. A bit of wordplay
5. Beginning of an observational, declarative mode
6. Immediate, non-revised use of text
7. Housepaint acrylics
8. Abstract style

That’s a fair bit to bite off all at once, hey? So not only am I delving into new territory (the content part is a pure freaking joy!), but I’m crashing hard into the world of abstract, which gets us back again to Dory who thinks I shouldn’t use paint to begin with. I actually agree with her. I suck at painting. I have no idea how to paint, I don’t inherently understand color and I’m just as likely to dip the entire painting in a bucket of thinner or set it on fire as I am to pick up a brush and swipe it. That said, I’m also studying my abstract-expressionists (de Kooning in particular) as well as our fave contemporaries like Wool, Ligon, Holzer, Basquiat, Ruscha and dorks like Mel Blochner whose work bores the shit out of me.

In fact, here’s a few examples of each of these geniuses, and also Blocher just because:

Basquiat.

Christopher Wool.

Jenny Holzer.

Ed Ruscha.

Richard Prince.

Mel Blochner. This is actually one his his more dynamic pieces.

Awrite, off to go hang art at La Merde. Thots, comments, offers of free studio space in foreign cities all welcome!

“Bossquiat”

Jean-Michel Basquiat was a Rock-Star. He was young, charismatic, and exploited a niche, which exploited him. I already know that most of you have heard of him, or been exposed to his works, and in an effort to limit superfluity, I’ll be brief, for documentaries like Tamra Davis’ “Jean-Michel Basquiat: The Radiant Child” provide a more in-depth portrayal.

From the outset, Basquiat is one of my favourite personalities in art, and from my first introduction, I was hooked… His form, use of colour, and methodical almost ‘encyclopedic’ knowledge which is ever present through his enormous body of work, just drew me in.

His rise to fame through his SoHo street poetry under the guise of SAMO©,  his then hoboesque/playboy/childish nature, critical skepticism, New York mass appeal, relationship with Haring/Warhol/Madonna/Heroin, and ultimate death (he’s one of many to join the infamous 27 club), all happened too quickly. He was a fire that burned incredibly bright, and although gone now, his embers are still glowing red hot, which is evident with his works being sold for “7 figure $$$”.

Cloaked by the label of ‘Neo-Expressionism’, ‘Primitism’, or ‘From the Gutter,’ Basquiat’s works have an undercurrent of politically charged messages, mostly targeting the lack of equality for negro-americans. Yet, he was not labelled just an ‘artist,’ but always as a ‘black artist,’ which I believe, at the time, motivated him to prove to the educated art critics of the time, that the he was  independent of his skin colour. Yet, his skin colour, at the time and even, adds to his appeal.

I don’t want to analyse his works, I don’t need to, they are what they are, Raw and Energetic. Below are some of my favourites, maybe one day I can afford one, actually fuck it, one day i’ll have three.

Eyes and Eggs – 1983

pegasus – 1987, owned by John McEnroe, this is my favourite, I can’t explain why, but I think i’ll write John a letter, just saying “consider me, if you are willing to sell”

“pay for soup/build a fort/set that on fire” SAMO©

Basquiat Vs. Squid

2012/2013

Kea Woods

1. Jean-Michel Basquiat at Gagosian Gallery – 555 W. 24th Street Tuesday – Saturday 10 am – 6 pm

(February 7 – April 6 2013) A major exhibition of works from public and private collections, the exhibition spans Basquiat’s career. Combining the techniques of street and fine art, his works redefined art history. It is a treat to see so much of his iconic and lesser known works in one place!

2. Faith Ringgold: Early Works and Story Quilts at ACA Art Galleries New York - 529 W. 20th Street Tuesday – Saturday 1030 am - 6 pm

(March 2 – April 27 2013) With work that spans her early career and story quilts, it is a must see for art lovers and art historians alike. Her artwork is featured on the Metropolitan Museum of Art’s Timeline of Art History, a chronological, geographical and thematic exploration of the most important art from around the world.

Faith Ringgold “Feminist Series: Of My Two Handicaps” #10 of 20 (1972) Acrylic on canvas framed in cloth

3. Firelei Bάez: THE STUDY Project Space at Morgan Lehman Gallery - 535 W. 22nd Street Tuesday – Saturday 10 am – 6 pm and by appointment

(February 21 – March 23 2013) Bάez’s work combines her interest in anthropology, science fiction, black female subjectivity and women’s work. The current work Off Color (Palimpsest) contains “a series of painted portraits on yupo paper inspired by the notion of capturing the sitter’s essence beyond physical attributes; using color and light as a means for relaying the nuances and immediacy of a particular moment” *courtesy of Morgan Lehman Gallery*

Firelei Bάez “Stake” 2012 Ink and Acrylic on yupo

4. Barkley L. Hendricks: Heart Hands Eyes Mind at Jack Shainman Gallery - 513 W. 20th Street Tuesday – Saturday 10 am – 6 pm

(February 28 – April 6 2013) Hendricks’ work spans between photography and painting in this exhibition that spans over 40 years of his artistic practice. The show includes photographs, landscape paintings and the portrait paintings that he is most known for. His work is included in numerous public collections such as The National Gallery of Art in Washington, D.C. and The Tate Modern in London, UK.

Barkley L. Hendricks “Triple Portrait from the Yard” 2012 oil, acrylic, and variegation level on linen canvas

5. Shinique Smith: Bold as Love at James Cohan Gallery  - 533 W. 26th Street Tuesday – Saturday 10 am – 6p m

(February 15 – March 16 2013) It is the artist’s debut exhibition at James Cohan Gallery. Smith’s work is inspired by things we consume and discard. “Bold as Love takes you on a distinct conceptual journey held together by the central motif of the mandala, a form for its geometry, both sacred and mathematical, and as a tool for fusing the visceral with the cerebral”. Each space in the gallery is filled with the wonderful energy of the pieces, from paintings and sculptures. *courtesy  of James Cohan Gallery*

Live life on the edge, with the arts of course!

Bright Idea, acrylic on wood panel, 30″ x 30″, 2013

The Confrontation, oil and acrylic on canvas, 36″ x 50 ” , 2013

Elephants and the Heat, (Detail), acrylic on masonite panel, 2013, private collection

The Truth is Your Secret Weapon, collage and block print, 9″ x 12″ , 2012

Elephant Watering Hole, acrylic on masonite, 2013, private collection

Cat’s Heart, Oil and Acrylic on Wood , 28″ x 38″ , 2013

Tool Birds & Figure, acrylic, oil, linoleum block, & paint pen on canvas, 2013, 24″x 48″

50 foot Pisqua, 36″ x 70″, acrylic, charcoal,oil stick on masonite, 2013

Self Portrait (detail), oil stick & acrylic on wood , 30″ x 48″, 2013

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acrylic and oil on linen, 2013

acrylic on wood panel, 2012, private collection

Acrylic on Canvas, 2012, private collection

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