“Fox #6″ (11 x 14” acrylic on canvas panel) April 15, 2017. SOLD
“Fox #7″ (11 x 14” acrylic on canvas panel) April 15, 2017. SOLD
“Fox #8″ (11 x 14” acrylic on canvas panel) April 15, 2017. SOLD
“Fox #9″ (11 x 14” acrylic on canvas panel) April 15, 2017. SOLD
“Horse in Field” by Jean Smith (11 x 14″ acrylic on paper) SOLD
A fairly in depth summary of my work on Women in Art History (Instagram) by art history instructor and creative writing professor Lucretia Tye Jasmine who recently bought my painting “Horse in Field”. Women in Art History is also on FaceBook
“Jean Smith, a Canadian, is an artist as well as a musician and writer. She was born on August 1, 1959, in Vancouver, British Columbia. Her portraits are smooth and rich, with a velvety brush that emphasizes subjectivity through inward, contemplative, or direct gazes. Critters, musicians, women in front of the word “hotel,” men in white underwear, and women washing their hair are intriguing subjects with serious attentions. Singers whose lipsticked mouths open at a microphone are affirmed by painting titles that identify them as angry women in rock.
She paints, makes films and music, writes, and lectures. YouTube videos showcase her art and music along with her process. She also orchestrates tours: musical, literary, and educational. Smith’s longtime collaboration with bandmate David Lester, whom she met in 1981 while they were working at a newspaper, encompasses visual art, and art as activism. Anti-authoritarianism is announced in D.I.Y. (do-it-yourself) productivity.
She and Lester formed The Black Wedge in 1986, an international music and poetry tour comprised of anti-authoritarian musicians. Feminism is practiced in a life’s work that promotes self-generated creativity and collaboration. The art and lecture series, How Art & Music Can Change The World, is their 2002 presentation which continues to tour classrooms (high schools and universities), art galleries, and book stores. Smith and Lester’s band, Mecca Normal, is considered a pioneering riot grrrl band. riot grrrl is a Third Wave feminist arts and music revolution.
Smith’s film about her online dating experiences examine female independence and a recent series of paintings concern 9/11. Some of Smith’s art is about Pussy Riot, the Fourth Wave feminist punk rock group from Russia jailed for musical protest in a church.
A two-time recipient of Canada Council for the Arts awards recognizing Smith’s work as a writer, Smith’s paintings are sought after by a variety of luminaries and scholars, spanning the established and the underground, indicating Smith’s subversive success and influence.” – Lucretia Tye Jasmine
I made a video for the Mecca Normal song “Cherry Flowers” (Dovetail, K Records, 1992) fairly spontaneously. It’s a pretty song about springtime and I did a cherry blossom painting recently, so it occurred to me to connect them. But, as I was putting the elements together, I recalled more about the song’s meaning, which I don’t think I’ve ever been asked about or expressed.
That got me to thinking about all Mecca Normal’s songs and the various meanings tucked up into them, so I listed all the songs, created a song meaning legend and assigned codes to most of the songs with a note saying that some of the songs need to be reviewed due to their nature, which might be psychological, poetic or complex.
As for “Cherry Flowers” (1992), it is about the geography of borders, clandestine crossings in vehicles (row boats heading for the united caves of america) laden with cherry flowers. Feel free to interpret what the cherry flowers are (maybe art and music?), but, in the song, “seven men in white shirts watch the needle on the gauge, rise and fall, swing and dive, on the border” using specialized equipment to assess the validity of those attempting to cross.
“Spring” (11 x 14″ acrylic on canvas panel). $100 USD plus shipping.
$100 USD Paintings Currently Available
All Jean Smith’s $100 USD portrait paintings from the beginning of the project (January 7, 2016) to March 14, 2017. Music by Mecca Normal.
Currently Available: Slide Show
Jean Smith’s $100 USD currently available portrait paintings from the beginning of the project (January 7, 2016) to March 14, 2017. Music by Mecca Normal.
Currently Available: Slide Show
“Washing Hair” sold to the person (now an official collector) who bought “Y-Front #4” back in the summer.
It’s funny; “Washing Hair” looks so simple and confident, but behind the scenes, man, there was a lot of swearing, and I chucked a tube of paint (Caucasian) across the room… an open tube. Never done that before. Had to clean splatters off the cupboards etc. It must have been finished at least a dozen times, but then I had to go and try to make some part of it better (sound familar, women? …and why does the word ‘women’ not work there? Why do gals, ladies, girls sound OK and women doesn’t?)
I wanted the figure to accomplish so much in the big picture – in the history of how women are portrayed, how we are in private, how we feel about ourselves. Painting over and over, wiping and washing sections away. It took a couple of hours, but in another way, it took a lifetime.
To me, this grappling activity is painting. Not filling in areas with pre-determined colours, like you see in YouTube how to paint videos.
“No Hat #138 B aka Gloria Steinem, CIA” (acrylic on canvas board 11 x 14″) January 21, 2017 (not posted until today, February 25, 2017). SOLD
I referred to this painting in a post earlier today, in which I was writing about “No Hat #133”. I mentioned that one of the big skills I possess (in painting) is knowing when to stop and both #133 and #138 B are excellent examples of that.
#138 B (at top) was one of the rare times that I set a painting aside because it felt finished well in advance of what I was intending to do, but I wasn’t entirely sure. With #133 there was no question that it was totally finished. In this case of #138 B, I still wanted to think about it. So it’s been sitting here since mid January and I haven’t had any inclination to add anything to it. Selling “No Hat #133” earlier today (to a radio journalist in Stockholm) has inspired me to call “No Hat #138 B aka Gloria Steinem, CIA” finished as well.
I started painting from a screengrab of Gloria Steinem speaking at the Women’s March on Washington on January 21, but… I stopped here because, as I say, I liked it at this point. This is a good example of how I use photos of actual people to whatever degree I need them as a starting point.
After I set the painting aside I ended up doing some research on Steinem, just to refresh my memory on her history. I’m pretty sure I never knew she worked for the CIA. This kinda killed my interest in doing a portrait of her, not that it would necessarily be representattional to the degree that she’d be recognizable, but the CIA connection fortified my interest in halting my involvement with her.
Additionally, a novel I wrote a few years back (The Black Dot Museum of Political Art) has a segment in it about the CIA’s involvement in the abstract art movement in NYC in the 1950s and 60s, so this issue of cultural icons being willing and/or unwittingly participants in CIA activities was unexpectedly back in front of me.
So, while the is painting (#138 B) is at face value a solid composition made up of fairly similar tones with the suggestion of what might have followed (the shape of the head) for those that know my work, the backstory provides intellectual content that can be factored in.
Earlier today “No Hat #133” sold to a radio journalist in Stockholm, Sweden who found this website and fell for this painting!
I’m really excited about another painting going to Europe! Also, this is a great painting. Am I even allowed to say that? I wasn’t sure it would sell (for obvious reasons) – so, it’s a total thrill that it has, within the context of the overall project, been selected.
One of the big skills I possess (in painting) is knowing when to stop. This painting is an excellent example of that. I’m inspired to post a similar one with even fewer features that I painted a month ago. It’s one of the only ones that I’ve stopped and put aside to consider. I haven’t found a reason to add anything else to it, so I’m going to call it finished. Or maybe I’ll call it Swedished in honour of the radio journalist in Stockholm.
I paint start to finish, in one event. I think this comes from my upbringing around watercolour painters – my dad mainly. With watercolour, you keep moving forward after committing paint to paper. You don’t keep messing around with the paint once it’s down. I don’t follow that part of the process; I continue working with the paint for up to 4 hours.
It’s interesting to me when paintings sell from pages other than on my FaceBook page, because that group is part of the project. They see the work first – sequentially, as it is created. Each new painting falls into an ever-evolving context in progress that is being created for over a year. Within this linear context, I’ve recently demonstrated that the images can be used for additional purposes long after they’ve been posted for sale (or sold).
It’s interesting to me that a painting that is now hanging in someone’s home can be on the internet saying, “No one is illegal.” Winnipeg artist, art critic and educator Steven Leyden Cochrane documented this over on Tumblr when he collected all the “No one is illegal” images in one post. Actually, for my recent project, I photographed paintings that have yet to sell, but, in theory, I could have used jpegs of work that has sold.
FaceBook reactions (likes, shares and sales) accumulate in the time immediately after posting paintings. I’ll be saying more soon about how using FB as a studio component and a venue affects me and the work.
It’s exciting to have had two recent sales in Europe. Shipping to most places in Europe is reasonable. I’ve sent paintings to France, Austria and the UK without tracking for $15 USD. Tracking seems to run an additional $20. In the 145 paintings I’ve sold, I’ve never had to use tracking.
Music by Mecca Normal (featuring Rat Bastard on guitar in the first song).