Tag Archives: Jean Smith paintings

Review & Summary

Horse 800“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

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Washing Hair

Shower 800

“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.

Y Front #4 800 a

Y-Front #4

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Trans Subject

ap-crop

Portraits based on a photo of trans model Andreja Pejic

NH 21

“No Hat #21″(acrylic on canvas panel, 11 x 14”) SOLD

nh 27

“No Hat #27″(acrylic on paper, 11 x 14”) SOLD

nh 28
“No Hat #28″(acrylic on canvas panel, 11 x 14”) SOLD

nh 29

“No Hat #29″(acrylic on canvas panel, 11 x 14”) $100 USD plus shipping

nh 51

“No Hat #51″(acrylic on paper, 11 x 14”) SOLD

nh 58

“No Hat #58″(acrylic on paper, 11 x 14”) $100 USD plus shipping

No Hat #59 800

“No Hat #60″(acrylic on canvas panel, 11 x 14”) SOLD

No Hat #72 800

“No Hat #72″(acrylic on canvas panel, 11 x 14”) SOLD

No Hat #79 800

“No Hat #79″(acrylic on canvas panel, 11 x 14”) SOLD

No Hat #80 800

“No Hat #80″(acrylic on canvas panel, 11 x 14”) SOLD

No Hat #83 800

“No Hat #83″(acrylic on canvas panel, 11 x 14”) $100 USD plus shipping

No Hat #84 800

“No Hat #84″(acrylic on canvas panel, 11 x 14”) $100 USD plus shipping

no-hat-93-800

“No Hat #93″(acrylic on canvas panel, 11 x 14”) $100 USD plus shipping

no-hat-94-800

“No Hat #94″(acrylic on canvas panel, 11 x 14”) SOLD

no-hat-95-800

“No Hat #95″(acrylic on canvas panel, 11 x 14”) $100 USD plus shipping

no-hat-97-800

“No Hat #97″(acrylic on canvas panel, 11 x 14”) $100 USD plus shipping

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“Standing Rock Water Protectors”

standing-rock-20-x-24-800

“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.

standing-rock-800

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

standing-rock-800-2

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

standing-rock-800-3

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

standing-rock-800-4

“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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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.

nh 53

“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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