Tag Archives: portraits for sale

All Time Favorites Available

Video: October 1, 2017 back to the beginning of the series (January, 2016). Music by Mecca Normal (Jean Smith and David Lester).

To purchase my contemporary portrait paintings by number (note: not paint-by-numbers!), see my Currently Available album.

Contact me by email to confirm that the painting you want is still available before paying.

Buy Now Button with Credit Cards

Several of my all time favorite paintings are still available.

Why are some of my all-time favorite paintings still available? I figure it’s because of when I originally posted them on my regular FaceBook page where 99% of purchases happen. Sales slow at the end and beginning of the month and during major distractions good and bad. Here are a handful of my pre-September favorites.

Collectors tip: I post first on FaceBook where they sometimes sell within the first five minutes which slows me down from posting them here, on the monthly page. I tend to put them on Instagram last, two or three at a time.

No Hat 202 800

No Hat #202

No Hat 204 800
No Hat #204

No Hat 236 800

No Hat #236

No Hat 246 800

No Hat #246

No Hat 247 800

No Hat #247

No Hat 248 800

No Hat #248

No Hat 243 800

No Hat #243

No Hat 240 800

No Hat #240

No Hat 232 800

No Hat #232

No Hat 233 800

No Hat #233

No Hat 201 NEW 800

No Hat #201

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Mecca Normal Song Debut

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.


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Hotel // Pizza

I’m not a big fan of putting text into paintings, but doing so has made this current section – the “hotel” section – of the ongoing $100 USD series seem somewhat sequential.

When I first added the hotel sign I wondered if viewers might jump to the equation “woman + hotel = prostitute” and so, I was thinking about that as I painted and posted them. I’m not accusing anyone else of coming up with that, but I know I did. In that sense, the “hotel” paintings became political as I pondered the existing overarching urge to lump women into sexualized situations – and, in my case, to wonder if that was happening to images I generate.

For many women, their sense of responsibility to not give the wrong impression manifests every time we get ready to leave the house, to go out in public.

“Where on the broad scale of sexualization do I want to place myself today?”
“Am I attracting the wrong / right kind of attention?”
“Will I be giving him / them the wrong / right idea?”
Basically – “Do I look (too much) like a hooker?”

The “hotel” signs are versions of the Chelsea Hotel / Hotel Chelsea sign in New York, implying that the women are poets, painters, musicians – artists of some kind. Not hookers. I don’t expect the sign to do that job though. The paintings are more about the nature of assuming a sexual premise.

When the baboon arrived, things started getting sequential. Up until that point, the paintings – all 200 of them – have seemed like individual takes that I exhibit one after another on FB as they are completed as opposed to all together in a RL gallery.

In my mind, the sequential sensibility of an ultra slow-moving, not necessarily linear feel of a graphic novel arrived with the inclusion of text and the positioning of the baboon in front of a “pizza” sign that resembles the “hotel” sign. To me, the baboon (a “he” it seems) appears to be in the vicinity of the hotel on that same night. For this “story” I’m not overly concerned about beginning, middle and end. It’s more Hopper than Spiegelman. More about unique interpretations of a possible story told across many frames over a long time than Art Spiegelman’s “Maus” story for instance. I say Edward Hopper because he visually chronicled scenes with people that stand alone, but, as they amassed over time, also suggest broader stories within an era. There may even be one story there. Much of Hopper’s oeuvre (can’t believe I’m using this word… doh) feels like a hypothetical (non-existent) Raymond Carver set of short stories about various characters settling into short-lived, but highly-nuanced in-between states of reflection and waiting before and / or after action.

I’d done a few baboons when I started the “hotel” paintings and when I did “Baboon #3” (below) I was going to add a “hotel” sign, but that seemed to imply that the crazy baboon might pose a threat to the women who had been standing in the same spot. So I made it a pizza sign and followed up with a woman in that same spot. As if to say, she was there after the baboon.

Where is the baboon now? Where are the women? Are the women in danger because they are women and because the baboon is a baboon and there is a hotel and pizza? Are the women frightened, hiding in the hotel? Or on the streets, hungry for pizza?

And now the fox (who I want only to be “Not Baboon”) seems to be playing a role, turning it into a fable of sorts: clever as a fox or like a fox guarding the hen house?

I have at least two more “hotel” paintings coming up – both of women – but the baboon may finally appear outside the hotel too.

Did anyone else get a sequential thing happening? Or maybe I just like the word sequential. Perhaps I’ve said too much!

No Hat #104 800 ed

No Hat #104 SOLD

No Hat #105 800

No Hat #105

Baboon 3 800 NEW

Baboon #3 SOLD

No Hat #106 800

No Hat #106

No Hat #107 800

No Hat #107


Not Baboon SOLD

No Hat #109 800

No Hat #109


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3 for $275 USD // FREE shipping in November

GIFTS: paintings can be gift-wrapped and sent with a handmade card (no extra charge).

VOUCHER: I can send a handmade card with the news that the recipient can choose a painting.

SPECIAL: $100 USD paintings dated prior to November are now 3 for $275 USD with FREE shipping (to a single address // $10 USD for additional addresses). Can be wrapped and sent with a card.


CONTACT: me by email with any questions!

“Baboon” sold in 25 minutes from my FaceBook page at the end of October. It got a record number of “Likes, Wows and Loves” (200+) and comments (40).

More animals to come!


“Baboon #2″ (acrylic on canvas panel, 11 x 14”) October 28, 2016. SOLD


“Not Baboon” (acrylic on canvas panel, 11 x 14″) October 28, 2016. SOLD


“Not Baboon #2″ (acrylic on canvas panel, 11 x 14”) November 4, 2016. SOLD

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“Jean Smith is a great painter!”

I was standing at the back of the Wonder Ballroom in Portland when The Julie Ruin’s keyboard player Kenny Mellman started talking about Mecca Normal between songs, saying we’re his favorite band. When he finally let Kathleen Hanna talk (at 1:20 above), she said, “Jean Smith is a great painter!” She also told the audience to follow me on social media. So… “Friend” me on FaceBook to catch the $100 USD paintings as they are posted.

It was so great to open for The Julie Ruin in Vancouver, Seattle and Portland!

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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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