“Standing Rock Water Protectors”

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“Standing Rock Water Protectors” (acrylic on birch panel 20 x 24 x 1.5″) September, 2016. $600 USD plus shipping. 15% donated to Red Warrior Camp at Standing Rock.

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“Standing Rock Water Protectors” (acrylic on watercolour paper 11 x 14″) September, 2016. SOLD. 15% donated to Red Warrior Camp at Standing Rock.

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“Standing Rock Water Protectors #2″ (acrylic on watercolour paper 11 x 14”) September, 2016. SOLD. 15% donated to Red Warrior Camp at Standing Rock.

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“Standing Rock Water Protectors #3″ (acrylic on watercolour paper 11 x 14”) September, 2016. SOLD. 15% donated to Red Warrior Camp at Standing Rock.

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“Standing Rock Water Protectors #4″ (acrylic on watercolour paper 11 x 14”) September, 2016. $100 USD plus shipping. 15% donated to Red Warrior Camp at Standing Rock.

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The Message

Vol. 392 of Normal History (September 24, 2016) Jean Smith and David Lester’s weekly column in Magnet Magazine

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The Message from Mecca Normal’s album The Observer (Kill Rock Stars, 2006)

Mother Africa walking along with Stephen Lewis. The dancers are dancing towards the camera. Hips moving real fast. A young woman in a school uniform, standing in front of the choir, singing a song perhaps she wrote for this occasion, this television opportunity. Make no mistake; it’s directed at you and me.
She sings, “Why me? Why him? Why her?”
But the real question underlies the theme. We know you have the drugs. You keep them under lock and key in the west away from us and you choose who lives, who dies.
Mother Africa takes off her large lens glasses and wipes her eyes. Stephen Lewis doesn’t look like he’s gonna cry. He takes the message back. Takes the message back to where it’s heard.
Why me? Why him? Why her? And do we choose who lives, who dies? Who dies?

 

A brief history of Mecca Normal

A brief history of Mecca Normal in TV news clips and live footage to give background and context to Jeans Smith’s ongoing $100 painting series.

“I made this for Dan Seward’s Bunnybrains event during TBA: 16  at PNCA (Pacific Northwest College of Art) 511 Gallery in Portland, Oregon on September 15, 2016.” – Jean Smith

Part of Makeup on Empty Space, curated by Kristan Kennedy. Co-presented with PNCA’s 511 Gallery & Director of Center for Contemporary Art and Culture, Mack McFarland.

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Video: all the paintings

Jean Smith portrait paintings

No Hat #79 800“No Hat #79” (acrylic on canvas board 11 x 14”) August 21, 2016. SOLD

Below, in the video, all the paintings in Jean Smith’s ongoing series of $100 paintings. As of September 3, almost 80 of the nearly 170 paintings have sold. Paintings currently available

Music by Mecca Normal (Jean Smith and David Lester), from the album Empathy for the Evil (2014, M’Lady’s Records) “Wasn’t Said” and “Between Livermore and Tracy” (both produced by KRAMER who also plays bass on these tracks)

At the very end (after the credits) Jean gives a brief visual demonstration of how Mecca Normal got started.

Mecca Normal‘s “Man Thinks Woman” (1987) was recently (August 8, 2016) included in Pitchfork’s story of feminist punk in 33 songs with a great write-up by Douglas Wolk

“Mecca Normal break rules like they never noticed them in the first place. The Vancouver-based duo of singer Jean Smith and guitarist David Lester are anarchist-feminist activists and constant experimentalists, implying a rhythm section with negative space alone. Always an intense presence onstage, they’ve become the most tenacious of D.I.Y. road warriors, touring and recording for 32 years now. In the early ’90s, they popped up on most of the biggest American indie-rock labels (Sub Pop, K, Matador); by their 25th anniversary, they were on the road with a performance-and-lecture project called “How Art & Music Can Change the World.”

Smith’s lyrics often foreground her political perspective; their anthem “Man Thinks ‘Woman,'” released in 1987, started out as a barbed dissection of gender normativity: “Man thinks ‘woman’ when he talks to me/Something not quite right.” The song kept expanding its radius from there, encompassing both bitter poetics and a disarmingly funny account of a drunken makeout gone weird. Kathleen Hanna has cited Smith as an early inspiration: “When I saw her,” she told The Fader, “I was just like, that’s it. I’m done. I’m sold.” – Douglas Wolk

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Paintings after the video

Knowing When to Stop: the Painting of No Hat #82 (14 minutes)

After making this video — which did not go as smoothly as it could have — I found the next paintings (3 of them) went much smoother. I didn’t end up taking them to the sink more than once and there was far less re-working and painting over.

Talking, video-ing and recording altered the painting process. So, really, the video represents some of the least smooth work, but I’m very happy with the final painting and I think it makes an interesting document.

Not talking – or using that part of the brain – is one of the things that happens when I paint. I need to get better at doing a demo – painting and talking. I may continue to videos and fine-tune demonstration components for classroom events.

I’m not surprised that “No Hat #83, #84 and #85” (posted below) flowed beautifully as a result of making the video.

 

No Hat #82 800 FILM

“No Hat #82” (acrylic on canvas board 11 x 14”) August 27, 2016. $100 USD plus shipping.

Painted after making the video

No Hat #83 800

“No Hat #83” (acrylic on canvas board 11 x 14”) August 29, 2016. $100 USD plus shipping.

No Hat #84 800

“No Hat #84” (acrylic on canvas board 11 x 14”) August 30, 2016. $100 USD plus shipping.

No Hat #85 800

“No Hat #85” (acrylic on canvas board 11 x 14”) August 31, 2016. $100 USD plus shipping.

 

 

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The Dark Side of Maria

No Hat #68 800

“Paul” (acrylic on canvas board 11 x 14″) $100 USD plus shipping.

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“Maria” (acrylic on paper 11 x 14″). $100 USD plus shipping.

No Hat #66 800

“Eileen” (acrylic on canvas board 11 x 14″) $100 USD plus shipping.

No Hat #65 800

“Mike Dean” (acrylic on paper 11 x 14″). $100 USD plus shipping.

Vol. 389 of Normal History (September 3, 2016) Jean Smith and David Lester’s weekly column in Magnet Magazine

The Dark Side of Maria from Mecca Normal’s album The Observer (Kill Rock Stars, 2006)

Song slivers arrive in shipping and receiving, between photo-cutter roar and dry-mounting rumble. With my mind, I add the sounds together and turn the nearly inaudible radio into Marvin Gaye. Regardless of what’s playing I hear Sexual Healing. Sexual, sexual healing.
Paul comes to look out the window. Wincing at the brightness, he fingers the paper white orchid. I turn away. He asks me, “What’s your favorite movie?”
“Harold and Maude,” I say. “It’s about a suicidal young guy who falls in love with an eccentric old woman.”
“OK. What’s your second favorite movie?”
“Picnic At Hanging Rock,” I say. “Australian school girls lost in the outback.”
Paul lays his head on the postage scale.
“Ten pounds ten ounces,” I say.
On coffee break, Maria talks about her roommate. “He’s white. He’s single. He’s 50, but he’s circumcised. Jean, Jean, Jean, do you prefer cut or uncut?”
In my mind I see the penises of recent dalliances, dicks and cocks of old relationships. Cut, uncut. Cut, uncut. Maria and the others are waiting for my answer, for my preference.
Maria says, “Uncut is ugly.”
Eileen says, “How do you know?”
Maria says, “I’ve seen a photo.”
The dark side of Maria. We are nibbling on Mike Dean’s banana bread. Mike is the Jethro Bodine handyman at the photo lab. He’s been phoning his mother across three time zones to get her recipes. He brings baked goods to work on the bus, triple plastic-wrapped. Pies, cookies, biscuits. He wants a reaction. He wants a reaction from the dark side of Maria.

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A Perfect Storm

Yesterday I made an elaborate plan to meet the buyer of a second painting in a small park near her house in East Vancouver. I set the location because it’s near a store that sells coffee grinders. I suggested we make the transaction with many furtive glances and, that as she handed me the money, she was do to it in that way that dealers (not art) pass money that looks totally obvious. Like, who hands someone money while looking in the another direction? Only dealers (not art).

I headed off a bit early, to take a look at the coffee grinders first, but as I was walking towards the main street, I saw a woman walking towards me with black boots, blonde hair and heavy-framed glasses. She looked like someone I might know, but I am often fooled these days by certain types of people who look like the same types from 25 years ago. I’ll catch a glimpse of someone in their 20s and think I recognize them, until I realize that the person I thought it was would be in their 40s or 50s now.

I crossed the street and realized that it was the person I was going to meet. She said she’d been to the bank.
“Are we headed this way?” I said gesturing towards both the park and her house. We could have just done the deal then and there, on that street corner. I had the painting, she had the money. But we started walking.

In our email exchange, she’d mentioned my coming to her house for the transaction and I had thought about suggesting a cafe, but really, some of these meetings have taken more than 4 hours because we get talking and so, I’ve decided to meet in parks. To speed up transactions. The less I leave this room, the better. People coming here? No.

We got to the little park and I said, “Shall we go over to that bench and do our performance art piece as planned?”
She laughed. She’s an artist. “Why don’t you just come to the house?”
“It does seem like I’m destined to come to the house, doesn’t it?”
We continued up the street. I hadn’t anticipated that when I stepped inside I’d see my painting, the one she bought a couple of weeks ago, framed and hanging in a primo position in a room filled with art. It was a total thrill!

I was given a tour of the place – mostly of the art. Her pieces – sculptural, found object, textile, drawings and paintings – and art by many other people. It was everywhere!

We were upstairs in her studio, near a window facing the back yard, when I saw two people talking in the alley.
“You’ve got some action out there,” I said.
She looked out and said, “He lives in the basement. He used to be in Guns and Roses.”
What does a person say to that? Maybe I said – really?

When we came back downstairs, it was time for me to bring the painting out of my bag. She admired it and laid it flat on top of the piano.
“I’ll be watching out for more before you put the prices up,” she said.
“I’m not planning on putting the prices up,” I said. “It’s too predictable. I may do some larger ones on wood and see what else I can make happen, but I like painting at this size and making them available on FaceBook. As long as there’s interest in the $100 paintings, I’ll keep doing it this way.”
She said something about the situation being a perfect storm.
“A perfect storm? How so?” I asked.
The size, the price and the personalities you’re creating *  – was basically what she said.

So… maybe it’s good to go out and talk to people, to hear what they have to say. To see some art. To talk about art. Yes.

*$100 Paintings Currently Available

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“No Hat #27” (acrylic on paper, 11 x 14”) May 22, 2016. SOLD

nh 34“No Hat #34” (acrylic on paper, 11 x 14”) June 6, 2016.  SOLD

 

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