8" x 10"
oil on canvas panel, 2014
Saturday, October 18, 2014
Sometimes there is a name in the list of the 100 songs that makes you wonder how in the hell it got there. Who is this? But the top 100 is objective and a painting is made for every song. Here's then one for Khalouni/Ya Oumri by the Algerian musician Rachid Taha. I don't even know how I found the song (it must have been through the blog Bodega Pop that I follow.) Of course, like most recordings, you can find it on YouTube. I found it, and after playing the video I realized why it is in the top 100. For a second I thought it was a Sex Pistols song when the video started playing. And to answer my earlier question (he also has a Wikipedia page): Rachid Taha is 56 years old, born in Sig, Algeria, residing in France. His music is a blend of Raï, funk, and punk. He was influenced by the Clash. It was mutual, his early music (with a band called Carte de Sejour, that I will try to find next) apparently inspired the Clash to write Rocking the Casbah. And yes, despite the deluge of photographic images that you may seen pass the review, I still paint, can't give it up. Mr. Taha's portrait took little over an hour to paint, probably the fastest painting in oils that you see in this year's list. The portrait of this handsome Algerian simply formed itself on top of this ridiculously bad flower still life painting that I'd produced teaching a one evening flower painting class in Bonita (ouch!)
4" x 2.5", surrealist techniques and
digital manipulation on photograph, 2014
The series of works using surrealist techniques are still going. They count to nearly 100 now and the first one to be designated to be part of the Top 100 2013/14 is this image of Antoñita Romero. For the exhibition of the 100 works I plan on rephotographing this piece, print it bigger, mat it, and frame it. I painted Ms. Romero before (in 2010) and I wasn't going to do it again. It's a lovely painting, the one from 2010, but I don't understand why I didn't paint her characteristic fan sticking out from the top of her head. Antoñita Romero is Spanish and the style of music she sings is flamenco. The song Bereberito is a bit poppy compared to the deep serious emotional music flamenco is known for. I have it on a 45 and whenever I'm a party deejay I'm sure to include it in the playlist. Before this year I haven't been a party deejay since 2010, hence the omission in the in between years.
Monday, October 13, 2014
Makes you think...50 images constructed in less than a week. Here's a second selection of of images created using surrealist techniques.
|Egyptian woman with child|
|Egyptian women/Maria van Boekel|
|Mark E. Smith/Khatereh Parvaneh|
Sunday, October 12, 2014
6" x 6", oil on canvas, 2014
Classic rock is one of those genres it is best to stay away from. Yet it is that music you are surrounded with all the time. The radio, the bars, at parties, it seems to be the default setting for the music of my generation. Of course, as it is with every genre, there are some great recordings out there. With classic rock they are called anthems. Let me propose a top 10 of classic rock anthems. Just out of the top of my head the following come to mind.1. The Flaming Lips – Do You Realize?? (2002, this has to be my all time favorite)
2. Oasis – Wonderwall (1995, I like Cat Power's version the best though)
3. Led Zeppelin – Since I've Been Loving You (1970)
4. Aerosmith – Dream On (1973)
5. Steve Miller Band – The Joker (1973)
6. Adele – Rolling in the Deep (2010)
7. The Who – Baba O'Riley (1971)
8. Black Sabbath – Iron Man (1970)
9. Lynyrd Skynyrd – Free Bird (1976)
10. King Crimson – The Court of the Crimson King (1969)
That was actually pretty hard to come up with ten of them on the spot. You may notice that there is only one female performer included in the list. Most lists of classic rock songs probably don't feature any as it continues to be a rather chauvinistic genre. I've come to live by this golden rule if it comes to evaluating genres and eras of the 20th century and beyond. If there aren't too many women involved with it, it's most likely devoid of any real meaning. There I've said it! Wonderwall in the version of Cat Power was already in the bottom part of this year's list when I heard it on a Tumblr page maintained by one of my college freshman art appreciation students from Punta Gorda. A rather unlikely source I might add. Wonderwall was recorded live in the studio by John Peel for BBC radio.
Saturday, October 11, 2014
16" x 11", oil on plywood, 2014
Dance me to the End of Love is the first song this year that enters the list by selection of someone else. That other person is my significant other and how appropriate is the theme of the song that deals with longevity of marriage. It’s one of those songs whose beauty isn’t bothered by repetitious play (as my significant other likes to do when a song strikes her fancy). The singer is of course the Canadian troubadour Leonard Cohen. The great poet has given to the world a number songs that have found their way into a universal human consciousness. Hallelujah is the most significant of those, but also Suzanne, Sisters of Mercy and others. Dance Me to the End of Love is one of these and I particularly like the line in the last strophe: "Touch me with your naked hands, touch me with your gloves". What a wonderful rhyme love and glove is.
Friday, October 10, 2014
Over the years I've kept all the print-outs that were the source materials for top 100 paintings. A thousand pictures neatly organized in binders. Most pictures are black and white images downloaded from the internet. The intention always was for this to be a part of The Top 100 Archive, an ambition that I hope to establish within the next five years or so. My favorite pictures in the binders are those photos that have smudges of paint on it, notes to self for planning the painting, and corners torn off because they were taped to my easel. The images gathered in 2013 and 14 are not yet in binders. Loose sheets are scattered through my studio, some in manilla folders, others taped to the wall. I decided I would play with these pictures before they will be stored in sheet protectors inside a few new binders. Playing is fun and I've had lots of it during the last couple of evenings. The whole project started because of a homework assignment in my art appreciation course called Surrealist Games. I figured I should practice what I preach, thus out came the hobby materials. Cutting, pasting, and all sorts of change happenings through surrealist techniques. I wonder what my students will come up with. Thought I share some of this images. All images exist on 8.5" x 11" copy paper, and were all created in 2014. Materials used are black and white prints, acrylic paint, and pen. Try some yourself, you won't be disappointed.
|Collage: M.I.A. and Karen Hill|
|Decalcomania: Nekrasov Cossacks|
|Decalcomania: Alexander Scriabin|
|Decalcomania: Kathleen Hanna|
|Decalcomania: Rosa Balistreri|
|Étrécissement: Roro native and Faiza Ahmed|
|Tressage: Mariko Gotō and Celia Cruz|
|Outography: Huggy Bear and Nadia Tolokonnikova|
|Cubomania: Mariko Gotō and Edith Piaf|
Deben Battacharya and Khatereh Parvaneh
Monday, September 29, 2014
9" x 8", oil on wood, 2014
Less than two weeks after I painted a portrait of Gee Vaucher, I painted a second one, softer, yet nearly identical to the first. The song from the top 100 it illustrates is Nagasaki Nightmare, a single by Crass from 1981. The softness of the painting is in stark contrast with the rawness of the song. Yet the song, and the music of Crass in general have something sweet to it. Sweet as in human honesty, some kind of universal sweetness. The musicians of the collective that were Crass at the time of Nagasaki Nightmare, were Steve Ignorant, Penny Rimbaud, N.A. Palmer, Joy de Vivre, Eve Libertine, Pete Wright, and Phil Free.
Friday, September 26, 2014
9" x 12". various drawing materials on paper, 2014
That it's not all doom and gloom in the top 100 is proven by this humorous song sung by Pancras Mkwawa. It was recorded at Iringa in Tanganyika (Tanzania). Mkwawa belong to the appropriately named Hehe people that speak the Hehe language which is a Bantu language. Mkwawa is accompanied by his small son who taps a rhythm on the gourd that is the resonator for the zither that Mkwawa plays. The Hehe Song, recorded in 1950, is track #18 from Volume X of the by John Lomax compiled series The Columbia World Library of Folk and Primitive Music. The volume is called Bantu Music from British East Africa. The recordings on the record, as well as the liner notes and photographs, are by Hugh Tracey. The Bangwe raft-zither player in the illustration above is not Mkwawa but an anonymous individual from Nyasaland who plays on track #19. Pancras Mkwawa plays a Ligombo tube-zither on the Hehe Song. Of course I do not understand the lyrics but track #17, a Muganda dance song from Nyasaland, seems to contain much more humor to my ear than the Hehe Song does. Oh well.
Wednesday, September 24, 2014
|Two Serbian singers|
9" x 8". markers on paper, 2014
Each country has its history, traditions, and folklore. Every year I really get into reading, looking, and listening to several of those. Now it appears that several countries have more history, tradition, and folklore than others and it also appears that my own country of origin has very little of it. I mean that someone like Alan Lomax, working on a vast archive of traditional music the world around, would have never even considered to visit to the Netherlands in search for gems of traditional music. There simply isn't much of it. I remember when I was a child in the late 60s, I owned a song book of old Dutch songs. I was really intrigued by it. I haven't seen that book in 40 years but I remember vividly what it looked like and what songs were in it. There were a few children's songs in it—I remember Kortjakje: "Altijd is Kortjakje ziek, midden in de week maar zondag's niet. Zondag's moet zij naar de kerk." (Kortjakje is always sick, except for Sundays. Because on Sundays she has to go to church.) There weren't really any religious songs in it though. (There must have been other books dedicated just to those.) I also remember that there was a whole section of South African songs in the book. Lots of traditional songs in the Afrikaanse language must have originated in Holland. I remember most of the lyrics to the song Sarie Mareis. There were sea shanties, and of the course the Wilhelmus, the national anthem. Lots of the traditional songs were racy at best, but not like those murder ballads that have been so much written about in literature, they seem to have originated mostly in England and Scotland, and some in Germany. There wasn't much singing going on when I grew up. People sang in church and people sang 'Sinterklaas liedjes' before December 5th. I didn't sing in church, I tried but was kicked out of the choir for not being able to hold a key. (I was more interested in leaving church before the singing anyways:)) My favorite song was this lengthy ballad called Drie Schuimtamboers. I can still recite most of the song, it was more than two pages full of lyrics: Drie Schuimtamboers, die kwamen uit het oosten, van je rom-bom-wat maal-ik-er-om, die kwamen uit het oosten rom-bom. Een van die drie, die zag een aardig meisje...etc. I grew up traditionless, nothing to be proud of (except for the national soccer team reaching the World Cup final in '74 and again in '78.) The culture I grew up didn't regard music, or art for that matter highly. "Och die kan toch zo mooi zingen" ((S)he can sing so pretty, can't (s)he?) they would say in a tone as if they felt sorry for you. So to me they'd say "Och die kan toch zo mooi tekenen." To this day I still feel that way, like that child who could draw pretty pictures. "Och ik heb nu toch ook weer zo'n leuke tekening gemaakt. Twee schattige meisjes uit het oosten. Zijn ze niet lief"? (I did such a pretty drawing today of two pretty girls from the east. Aren't they cute.) The singers are two girls from a group of seven from a village near Prijepolje in Serbia. The singers (in the photo on the cover of the album Serbian Folk Music) are named but I don't know who is who. The singers recorded before 1981 in Serbia, which still was Yugoslavia back then. Very much unlike the Netherlands, the former countries of Yugoslavia have a rich history, traditions, and folklore. I've been enchanted by the music of these countries for quite a few years now. The song in the top 100 the drawing illustrates is called Hajde Dano, Da Igramo (Come Dana, let us dance—before we lose our youthful hearts). Reading through the translations of many a Serbian song I can't help but notice that the lyrics have none of that belittling, racy, and ignorant quality the Dutch songs from my book do.
Sunday, September 21, 2014
5" X 5", 4-color stencil on paper, 2014
"That was actually really cool" was my response upon watching a video documenting Jay-Z's performance of Picasso Baby at the Pace Gallery in New York in 2013. My art appreciation students watched the video and later we discussed it in class. The discussion was good. You know what the best thing was that came out of it? It was that the class really responded well to the work of Marina Abramović, that I showed along with Jay Z's video to deepen the context of the discussion. Yes, it was a great introduction to the topic of performance art.
Jay-Z then was a natural pick for my semi-annually edition of stencil prints that I trade with students' stencils (see also
http://berrystop100.blogspot.com/2013/11/the-demo.html for earlier versions of the art appreciation stencil art project.) I printed the stencil in an edition of 82 in four colors. A plate for each primary color and one for black.
Friday, September 19, 2014
9" x 8", oil on wood, 2014
Gee Vaucher is a visual artist who made a name designing graphics for the English punk band Crass. It is interesting to note that, without being involved in the musical process, she is listed as a band member of Crass. It shows the band's intention to be more than just another punk band. What it wants is to be a total 'action' collective. I have to say that Crass is really one of the more advanced bands that came from the punk era. Certainly one of the more sophisticated and 'Art' of the punk bands that were around that time. Crass was formed in 1977 by Steve Ignorant and Penny Rimbaud. According to the Wikipedia page the band name came from a David Bowie lyric but I think that it's 'cross' with an 'a' superimposed on the 'o' resulting in the anarchy sign in the middle of the name. This is further reinforced by the album title Stations of the CrⒶss. It was actually Vaucher's artwork that made me pick up an interest in the music, thirty-five years after Stations of the CrⒶss was made.