“The Phone” (11 x 14″ acrylic on canvas panel) is one of a handful of anomalies in my ongoing series of $100 USD paintings.
A recently created slide show of paintings currently available represents the two main themes in the series: “The Hat” and “No Hat”. Other anomalies include a handful of animals and a few landscapes.
“Since 2000, I’ve spent most of my time writing novels while working part time. I was fortunate to have several businesses I worked at close and so, I was eligible for unemployment insurance. That was perfect. I got a lot of writing done. I have a literary agent working on selling one of my novels to publishers and I’ve just started another one. In April, I quit my job to paint full time.”
Razorcake is the first and only official non-profit punk music magazine in America primarily dedicated to supporting independent music culture.
UPDATED: JANUARY 21, 2017
CLICK any image to launch SLIDE SHOW
Larger images and purchasing details: $100 USD Paintings Currently Available
“The $100 painting series all started with The Hat in January, 2016. I posted the first one on my FaceBook page and it sold that same day. Hours later, someone was offering me money in advance for the next one! Since then, paintings in this series have been purchased by instructors from the Yale School of Art, the University of British Columbia and the Art Institute of Chicago, painters whose work has been exhibited in the Museum of Modern Art and the Whitney Biennial, 2014 in New York City, and by art critics for Artfourm Magazine and the Winnipeg Free Press – as well as a few indie rock luminaries.” – Jean Smith, August, 2016
11 x 14″ acrylics, $100 USD plus shipping ($10 USD to USA and Canada, $15 USD to Europe). Please contact me for shipping cost to other locations.
From most recent to oldest (February, 2016)
Email to confirm availability.
All content on this website (C) Jean Smith, 2017
20 Questions: Calvin Johnson of K Records, Verbicide Magazine, October, 2016
Verbicide: What song really hits you in the feels and makes you cry?
Calvin: “Malachi” by Mecca Normal.
One painting in the series “Discovering Utopia” (cover art for the Mecca Normal 7″) is still available.
The 7″ cover was included in an exhibit about Malachi Ritscher in the 2014 Whitney Biennial.
“Discovering Utopia #3″ by Jean Smith (12 x 16” acrylic on canvas) 2010. SOLD
“Discovering Utopia #4″ by Jean Smith (12 x 16” acrylic on canvas) 2010. SOLD
“Discovering Utopia #5″ by Jean Smith (12 x 16” acrylic on canvas) 2010. SOLD
“Discovering Utopia #6″ by Jean Smith (12 x 16” acrylic on canvas) 2010. $250 USD plus shipping.
“No Hat #116 aka Shanny McIntosh” SOLD to Courtney Jaxon
Mecca Normal “I Walk Alone” at Courtney Jaxon’s house in Arcata, CA
“No Hat #117 aka Shanny McIntosh #2” SOLD to Mack McFarland, Director of Center for Contemporary Art & Culture at Pacific Northwest College of Art.
“Essentially you have a culture of peoples who have often been neglected to the background of the history books but through sheer perseverance and talent have altered the ways in which we participate with each other in these cultural places and ultimately it comes down to being a part of a communal atmosphere and the inherent joys and hardships of being in a community.” – Shanny McIntosh
This post relates to Vol. 408 of my weekly column, January 14, 2017, in Magnet Magazine
VIDEO: $100 USD portrait paintings (11 x 14″ acrylic on paper and canvas panels) currently available.
Debut of “Critical” by Mecca Normal (Jean Smith and David Lester) produced by KRAMER in 2012, featuring our recording engineer Frank Falestra (aka Rat Bastard) on guitar near the end.
“Between Livermore and Tracy” (at 5:50) by Mecca Normal , from the album Empathy for the Evil (2014, M’lady’s Records). Produced by KRAMER who also plays bass on both tracks.
Portraits based on a photo of trans model Andreja Pejic
“No Hat #21″(acrylic on canvas panel, 11 x 14”) SOLD
“No Hat #27″(acrylic on paper, 11 x 14”) SOLD
“No Hat #28″(acrylic on canvas panel, 11 x 14”) SOLD
“No Hat #29″(acrylic on canvas panel, 11 x 14”) $100 USD plus shipping
“No Hat #51″(acrylic on paper, 11 x 14”) SOLD
“No Hat #58″(acrylic on paper, 11 x 14”) $100 USD plus shipping
“No Hat #60″(acrylic on canvas panel, 11 x 14”) SOLD
“No Hat #72″(acrylic on canvas panel, 11 x 14”) SOLD
“No Hat #79″(acrylic on canvas panel, 11 x 14”) SOLD
“No Hat #80″(acrylic on canvas panel, 11 x 14”) SOLD
“No Hat #83″(acrylic on canvas panel, 11 x 14”) $100 USD plus shipping
“No Hat #84″(acrylic on canvas panel, 11 x 14”) $100 USD plus shipping
“No Hat #93″(acrylic on canvas panel, 11 x 14”) $100 USD plus shipping
“No Hat #94″(acrylic on canvas panel, 11 x 14”) SOLD
“No Hat #95″(acrylic on canvas panel, 11 x 14”) $100 USD plus shipping
“No Hat #97″(acrylic on canvas panel, 11 x 14”) $100 USD plus shipping
I was on an upswing with the painting before the election results. I’ve been making a living painting $100 portraits for almost a year which I hope to continue. Upheaval as a self-employed artist is problematic. You can’t just keep going to a job and getting a paycheck which is how I’ve mainly supported myself in the last 15 years… before which I was a “professional” musician.
It was weird; just as the election results started to come in, a guy in San Francisco bought five paintings. A record sale. Then action dropped off entirely, in part because my FaceBook page is my “storefront” and I didn’t want to just keep posting paintings unrelated to what was happening politically. That seemed trite. My FaceBook friends are almost all connections through music, art and activism so, my newsfeed is basically 100% political from a leftist perspective. Interjecting paintings of mostly Caucasian women seemed disconnected if not downright absurd.
I don’t think I actually painted for the first few days, and then, when I did, I painted five or six total duds (which is highly unusual for me). A week or so later, I felt quite “human” about that. It seems my basic ability to create art is affected by what goes on in the world, but that’s a scary thing when you’re self-employed. How long would I be making lousy paintings? I aim to paint one a day, but I consistently fall short of that. I sell half of what I paint, which is exactly what I need to pay my bills. I can’t afford to do subpar paintings.
I had been switching back and forth between people and animals around the time of the election, and suddenly animals seemed like a viable direction considering how I felt about humans.
It’s weird how many animals are used to define human characteristics – including the fox (foxy, clever) – but the whole fox-hunting thing in England with a bunch of snobs (including the royal family) tracking foxes is pretty awful as far as sports go. It’s right up there with bullfighting as far as tormenting an animal and then killing it as part of the outcome is nuts.
“Fox #4” $100 USD
Yet, I didn’t want to be steered off course, so I returned to the painting people. I had thought that animals for Christmas might be a thing sales-wise, but now I’m not so sure that’s what I should be doing. I created a FaceBook Event page offering gift certificates, wrapping and hand-painted cards, but it didn’t get any reaction. Anyway, I’m a painter, not a card maker. I need to stay on track. Maybe discounts and free shipping are of little interest to people interested in buying a painting.
Prior to the animals, I did five or so of Standing Rock Water Protectors with 15% going to the Red Warrior Camp. The ones based on the composition below (with varying degrees of abstraction) felt appropriate in terms of both “bearing witness” and documentiation. It was September at this point, before the reaction to the water protectors became more physical. I did one in late October of the cops drenching people with water cannons, ice hanging off the razor wire, but I wasn’t happy enough with it to post it.
“Standing Rock Water Protectors #3” SOLD
The act of creating non-political art in public places (including online) during times of international upheaval reminded me of being on tour with Unwound and Thrones during 9/11. We were supposed to play Boston that night, but that show was canceled, partly because of the club’s name (the Middle East) and our band name being “Mecca” Normal. Evidently they got some threatening phone calls because of that. The club owner fed us an excellent meal and then we all sat around in the band room trying to figure out what to do. Continue or pull the plug on the remainder of the tour and head home. We decided to continue. Our Manhattan show at the Bowery Ballroom (9/12 I think) was canceled, so the next show was Maxwell’s in Hoboken, NJ which is basically considered a NY show. I desperately wanted to perform relevant songs! I felt completely ridiculous going up on stage to sing about interpersonal relationships. It was interesting though. Phones had been out in the area so people didn’t know what was going on with their friends. The show turned out to be a gathering point. People went to the show to connect with their community, to see if friends were OK, to hear what had happened to them. We were on first and because it was the first show since the attacks that many people were going to (I think it was 9/13), everyone talked through our set, which is something that would normally bug me, but, in this case, I felt like we were providing some sort of service. It felt good to be the kind of band people could talk over. No bass and drums. It felt relevant, but I never would have thought of it in advance. We played our regular set and no one listened and that was, in that moment, fine. Not totally great as a band promoting an album on tour 3000 miles from home, but… whatever.
The incredible thing about both Thrones and Unwound were that their sound took over in a way that I’d never experienced before. Visceral. The low end was therapeutic. Like some sort of massively thorough massage. The volume was like a flood of dopamine or whatever. Endorphins. I didn’t expect this. How the music felt.
Back to present day. After the recent election results in US, I made one of my paintings of a Caucasian woman “political” by painting “anti-fascist” and “sloganeer” “tattoos” instead of eyebrows (below). I’d been thinking about Woody Guthrie’s “this machine kills fascists” and came up with that idea. I marked it “not for sale” at the time because I felt like my paintings should somehow be a reaction to what’s going on, but I didn’t want to be trading on people’s emotions. Weeks later I marked it for sale.
“No Hat 111” $100 USD
I’ve been thinking about artists who are in the middle of projects, in either creation or exhibition mode. I wonder what it feels like to be making work that isn’t related to current upheaval, work that has been in progress for a long time and needs to continue. Certainly artists can’t drop what they’re doing to respond to current events, but I’ve been wondering how those artists must feel. My approach is to continue with what I was doing with variations made based on my understanding of what’s going on around me. I’m not normalizing or ignoring, but just not stopping. Not giving up. Integrating new ideas as they arrive.
I have, in the last week or so, been painting non-Caucasian faces which is, in part, a reaction to recent events in the USA. Of the six African American faces I’ve painted two have sold.
“The Hat #46” SOLD
“The Hat #47” $100 USD
“The Hat #48” $100 USD
“The Hat #49” $100 USD
“No Hat #116” (below) got a tremendous reaction on my FaceBook page. 141 “likes” and “loves” and 20 comments yesterday! It sold a few hours after I posted it.
“No Hat #116” SOLD
For me, this kind of turning away from representing white people feels appropriate, but it means having to “learn” new color pallets and figuring out how to paint features that are different than the ones I’ve been painting since I began the series back in February, 2016.
There’s a point in art-making when finding new territory to explore increases motivation to work and that’s where I’m at now.
I’ve just posted “No Hat #117” (below) on my FaceBook page and I plan to paint from the same source photo at least once more.
“No Hat #117” $100 USD
The high point so far as a political artist was in 2014 when David Lester and I were interviewed by Amy Goodman on Democracy Now! about a Mecca Normal 7″ (with a song about war protester Malachi Ritscher) featuring my painting “Discovering Utopia” on the cover (below) being included in the 2014 Whitney Biennial.