Thursday, February 28, 2013

Jeremy Dickinson

Jeremy Dickinson
Jeremy Dickinson, Truck Tower Crane No 1

Jeremy Dickinson, Red Truck Race, 2010

Jeremy Dickinson, Truck Tower

Jeremy Dickinson, Truck Stack with Cable Way

Jeremy Dickinson, Heinkels, 2001

Jeremy Dickinson, Performance Stack, 2003

Jeremy Dickinson

Jeremy Dickinson, Ten Reds, 2008

Jeremy Dickinson, Double Spectrum Tramway, 2010

Jeremy Dickinson, Small Trucks, 2003

Jeremy Dickinson, Long Island Fishbowl Wallmap, 2007

Jeremy Dickinson, French Autopark, 2008

Jeremy Dickinson, The Repainted Crane, 2008

Jeremy Dickinson, Autostack (Vanwall)

Jeremy Dickinson, Mr Peanut Sculpture, 2012

Jeremy Dickinson, BNSF & Shinkansen History, 2003

Jeremy Dickinson, Crane No 3 (Tekno), 2012

Jeremy Dickinson, Kranewagon, 2006

Jeremy Dickinson, Historic Scottish Wall Map, 2007

Jeremy Dickinson, Autostack (Talbot Lago(

Jeremy Dickinson, Civic Pride and Silversides

Jeremy Dickinson, HIgh Level Billboard (Karmann Ghia), 2012

Jeremy Dickinson, Duotones, 2009

Jeremy Dickinson

Jeremy Dickinson, Bus Rears, 2008

Jeremy Dickinson, Auto Spectrum with Transporter

Jeremy Dickinson

Jeremy Dickinson is a British artist whose hallmark is a child-like delight in vibrant colours and dynamic shapes.

Dickinson was born in 1963 in Halifax, Yorkshire, England. He studied at York College of Arts and Technology and later at Goldsmith's College, London – the city in which his first public exhibition took place in 1991 at the Whitechapel Open Studios.

In 1995 he illustrated The Aston Martin DB3S portfolio, published by Palawan Press (London) and five years later he was invited to co-design the Royal Mail’s Buses Stamps released on 15 May 2001. In between came exhibitions in Brussels, Darmstadt, Florence, New York, Paris, San Francisco, and Tokyo as he began to climb the slippery ladder of international commercial success.
The basis of his work is a childhood collection of cars and buses which he arranges in stacks and patterns, carefully juxtaposing colours and viewpoints. Originally simple depictions of battered cars, trucks, and buses that have an unknown history, he made them more complex and evocative, at times introducing an idiosyncratic (if deliberate) sense of humour. Canvasses are quite likely to show an improbable pile of vehicles resting on one that is the wrong way up or a car vaulting like Eddy the Eagle over others randomly parked below.

Recent paintings have given the vehicles a personality of their own and his cars and trucks have become collaborators in the finished canvas. Writing in Classic and Sports Car (January 2009), Mick Walsh reported that family and friends send Dickinson toys for his collection, but that his best finds have been tatty items of no interest to specialist collectors. Dickinson told him:
“I’m always after strange colours. Some 1950s Dinkys such as the Austin Counties were released in weird two-tone schemes. I think the colour range was affected by the lead in the paint. I look for unusual toys, particularly French Dinkys, but the older stuff is getting hard to find.”
His most recent work continues to focus on his passion for transportation, whether it is the paintings of toy buses in miniature junkyards, shipping containers on a dockside, or larger scale works in which whole collections of vehicles are sorted into groups according to their country of origin or contrasting colours.

Jeremy Dickinson is an artist with an eye for meticulous detail, who knows where he is going and whose enthusiasm and passion are infectious. 

images found here, here, here, here and here

text above found here

Tuesday, February 26, 2013

Highway Robbery

to protect and to serve

To Serve, To Protect, To COLLECT


Have you received a speeding ticket lately?  Do you have any IDEA how expensive they are?!  

I was on my way home from after a 750 mile round-trip to visit my parents.  In the home stretch -- just 45 minutes away from home -- I was zipping over the Grapevine at 83 mph (in a 65 mph zone -- I know, I know) when I saw a cop ahead of me.  I slowed down to the speed limit.  The offending officer, Officer CALLAHAN (NO JOKE!!!!!), pulled me over anyway because APPARENTLY the po-po radar can detect speeders BEHIND THEM.  I had no idea!  D'OH!!!! 

speeding ticket from Officer CALLAHAN

Seeing as I haven't had a speeding ticket in 20+ years, I wasn't sure how much the ticket would cost, but I figured it would probably be $180 or $200.  Something like that.  Well SURPRISE SURPRISE, the ticket finally came in the mail and it was actually $367!  Plus $64 to attend Traffic School so that my insurance isn't adversely affected!  Plus the Traffic School FEE. Plus a $10 "e-Public Access service fee" if paying by credit card! FOR CRYING OUT LOUD!  Who can afford that?!?!?!??!?!?  HIGHWAY ROBBERY!!!!  I realize this whole stupid situation could have been avoided if I followed the rules, but CRIPES!  It just seems like the city, county, state and country are so BROKE that they find any way to fine the citizens as much as possible!  Blargh!

I was crying the blues about this situation to my co-workers when one of them asked me if I had heard about the newly revised parking ticket rates in the City of Los Angeles.  Of course I had no idea, but I was aghast when I saw this complete list of parking fines for my fair city.  Here are some of the new rates:

  • Obstructing handicap spot or misusing disabled parking placard: $363
  • Parking in a bus zone: $293
  • Red zone parking: $93
  • Street sweeping violation: $73
  • Overnight parking fine: $68
  • Parking on a bridge or in a tunnel: $68
  • Expired meter: $63

DRIVER BEWARE!  This city is flat busted (and your city probably is too) and hoping to make a dent in the city's $238 million budget deficit by collecting every cent possible from its citizens!  PROCEED WITH CAUTION!

Tuesday, February 19, 2013

Roger Brown

Roger Brown

Roger Brown, Wreck of the Ocean Ranger, 1982
Roger Brown, Wreck of the Ocean Ranger, 1982

Roger Brown, Ohio Snake Mound, 1973, Oil on canvas
Roger Brown, Ohio Snake Mound, 1973

Roger Brown, Couple Progressing Towards Mount Rincon, 1997, Oil on canvas
Roger Brown, Couple Progressing Towards Mount Rincon, 1997

Roger Brown, Amusement Center, Oil on canvas
Roger Brown, Amusement Center

Roger Brown, Fall Out at Three Mile Island, 1979
Roger Brown, Fall Out at Three Mile Island, 1979

Roger Brown, Cave Park, 1971, Oil on canvas
Roger Brown, Cave Park, 1971

Roger Brown, Rosa Foetida Bicolor, 1994
Roger Brown, Rosa Foetida Bicolor, 1994

Roger Brown, Lake Effect, 1980
Roger Brown, Lake Effect, 1980

Roger Brown, Farm, 1975
Roger Brown, Farm, 1975

Roger Brown, War Zone, 1971
Roger Brown, War Zone, 1971

Roger Brown, Burned Hills-May-October 1997, 1997
Roger Brown, Burned Hills -- May-October, 1997

Roger Brown, Memory of Sandhill Cranes, 1981
Roger Brown, Memory of Sandhill Cranes, 1981

Roger Brown, Arrangement in Blue and Gray, The Artist and His Friend Fishing, 1985
Roger Brown, Arrangement in Blue and Gray, The Artist and His Friend Fishing, 1985

Roger Brown, Looks Like Rain, 1975, oil on canvas
Roger Brown, Looks Like Rain, 1975

Roger Brown, Bonsai #2, Climing with the Cascae (Kengai), 1997, Oil on canvas
Roger Brown, Bonsai #2, Climbing with the Cascae (Kengai), 1997

Roger Brown, Natural Bridge, 1971, Oil on canvas
Roger Brown, Natural Bridge, 1971

Roger Brown, Rising Above it All, 1978, Oil on canvas
Roger Brown, Rising Above it All, 1978

Roger Brown, Snow Belt, 1984

Roger Brown, Forest Fire, 1976
Roger Brown, Forest Fire, 1976

Roger Brown, Mountain Sides

Roger Brown, Gold Sky
Roger Brown, Gold Sky

CT ent-0818-art-union-league-008.JPG
Roger Brown (title/date unknown)

Roger Brown, Winter Storm II, 1993, Oil on canvas
Roger Brown, Winter Storm II, 1993

Roger Brown, Sodium Light, 1985
Roger Brown, Sodium Light, 1985

James Roger Brown was born on December 10, 1941, and was raised in Hamilton and Opelika, Alabama. A number of early experiences and observations in his formative years made deep impressions on Brown. By nature he was creative, and his parents encouraged his artistic bent. During childhood Brown grew especially close to his grand and great-grandparents, instilling an early interest in his family’s origins, which later flowered in extensive research into his family’s genealogy. Brown developed a deep interest in the material culture of the South, especially for folk art and hand made, functional objects. In adolescent and teen years he was influenced by the aesthetic of the comics, theatre architecture and interiors, and streamlined Art Deco and machine-age design. His religious upbringing in the independent, fundamentalist Church of Christ, was formative and lasting. In later years Brown became known as an astute and intuitive collector. Memories of his early experiences can be seen as his first, and perhaps most important collection. He retained them, distilled them into their essential aspects, and they became the visual and psychological engine for much of his work throughout his thirty-odd year career.

After high school Brown left the South, and although he lived much of his adult life elsewhere, he never severed his connection with the region. In fact, his life can be viewed in terms of successive regional experiences––senses of place––that contributed to his evolving artistic identity.

After a brief struggle between Religion and Art (he studied briefly to be a preacher at a Church of Christ affiliated school in Nashville), Art prevailed. In 1961 he decided to attend art school, and in the fall of 1962 he moved to Chicago where he first took classes at the American Academy of Art before enrolling at The School of the Art Institute of Chicago. His first experience at the School was brief, and in 1963 he returned to the American Academy of Art, where he completed a commercial design program in 1964. He then returned to The School of the Art Institute of Chicago as a full-time student from 1965 through 1968, and 1969 through 1970, where he committed to a fine art focus that he pursued with great intensity and originality for the next three decades. At SAIC he was introduced to a range of art historical periods and genres (he gravitated to Pre-Renaissance Italian art, Surrealism, American artists Hopper, Wood, and O’Keefe, and tribal art of many cultures), as well as to the legendary Maxwell Street market, antique and thrift stores, amusement parks, and other places of visual and cultural interest. In 1968 Brown received his BFA and in 1970 he was awarded his MFA, both from The School of the Art Institute of Chicago. With his MFA Brown also received Edward L. Ryerson Traveling Fellowship, which supported travels throughout Europe and Egypt, where he collected objects, images, and inspiration. In 1970 art dealer Phyllis Kind first exhibited Brown's work, beginning their strong relationship as the exclusive representative and ardent supporter of his work for his entire career.

Inspired by instructors Ray Yoshida and Whitney Halstead, works by Roger Brown and a number of fellow students were initially recognized and supported by curator Don Baum, who organized a series of exhibitions at the Hyde Park Art Center (all with individual titles, but later referred to under the rubric "Hairy Who") and the Museum of Contemporary Art. These and other artists later became known as “Chicago Imagist” artists.

Life in Chicago marked his official entry into the “art world”, a realm he flourished in, and the subject of his continual and adamant critique. Collecting art and objects that functioned as source materials for his work coalesced into a practice and discipline that was shared by other artists, and reflected a collecting sensibility in Chicago. Encouraged by Whitney Halsted, Brown and his colleagues began to look to the work of self-taught artists, visiting  Joseph E. YoakumAldo PiacenzaWilliam Dawson, Lee Godie, and others, responding to their works with a spirit of visual and intellectual curiosity and genuine respect, and ushering them inside the cultural arena, not to an outsider realm. Brown’s interest in traditional folk art developed into a serious exploration of art that originated from beyond the mainstream. He became a fierce champion for the validity of such works, as equal or superior to works from the mainstream. Exploring and documenting art environments and the vernacular landscape became an ongoing pursuit as well. Trips to Mexico, Europe, Russia, and Africa fueled his work and his collection.

In 1972 Brown was featured in the book Fantastic Images: Chicago Art Since 1945 by Franz Schultz. Also in that year Brown began a close relationship with architect George Veronda, and at this time architecture and landscape became integral themes in his work. Brown's mediums eventually included sculpture of found, assembled, and painted objects, theatre and opera sets, and mosaic murals, in addition to painting and printmaking.

In 1974 Brown purchased a storefront in Chicago; rehabbed by Brown and Veronda, 1926 North Halsted St. became his first home, studio, and collection environment.

In 1977 he began planning and construction of a residence and studio in New Buffalo, Michigan. Designed by George Veronda, the modernist home, studio, and guest house was completed in 1979. Brown divided his time between Chicago and New Buffalo, where he assembled a second collection of art and objects.

Brown’s critical acclaim grew in the 1970s and 80s. He became known for responding adroitly to the fabric of 20th Century life, through works that addressed a range of subjects and issues, including: natural, architectural, and urban landscapes, the dichotomy of nature and culture, disasters of all types, current and political events, social, religious, and popular culture, autobiographical, personal, and sexual issues, the art world in many guises, cosmology, mortality, history, mythology, transformation, transportation, and the weather. Brown's exhibition history is extensive. He was represented for 27 years by the Phyllis Kind Gallery in Chicago and New York, and his work was shown in numerous solo and group exhibitions around the country and abroad. Major retrospectives of his work were mounted at the  Montgomery Museum of Fine Arts in 1980, and at the  Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution, Washington, D.C. in 1987. Brown designed five murals for architectural settings: City of The Big Shoulders, a painting in the NBC Tower (Chicago); Arts and Sciences of the Ancient World: The Flight of Daedalus and Icarus, and Arts and Sciences of the Modern World: LaSalle Corridor with Holding Pattern (Italian glass mosaic) at the Ahmanson Commercial Development Company, 120 North LaSalle in Chicago. In 1994 his glass mosaic mural 20th Century Plague: The Victims of Aids, was installed in the Foley Square Federal Building in Manhattan. In September 1997 the last glass mosaic mural Brown designed, "Hull House, Cook County, Howard Brown: A Tradition of Helping", was dedicated at the Howard Brown Health Center in Chicago. The Montgomery Museum of Fine Arts organized the exhibit Roger Brown: A Different Dimension, which explored his sculpture and three-dimensional paintings, show at the MMFA and at the Chicago Cultural Center in 2004.

In the late 1980s Brown searched for a place to live on the west coast. He found property in the beach town of La Conchita, north of Ventura, and in 1993 his home and studio (designed by architect Stanley Tigerman) was completed. Brown adapted his work and collecting disciplines to Southern California. Still addressing a broad range of subjects in his works, Brown created condensed, serial works that focused on California experiences, including a series of ominous cloud-scapes, paintings of rose trees and shrubs, 27 Virtual Still Life (three-dimensional) paintings, and metaphorical explorations of Bonsai. Aware of his mortality (Brown lived with an illness for nearly a decade), many of Brown’s works from 1995 to 1997 evoke the uncanny feeling of a prelude to a different dimension.

In 1997 Brown was in the process of developing a fourth home/studio/collection environment in an 1870s stone house in Beulah Alabama, so he could “come full circle” and have his Alabama home. He died on November 22, 1997, and was survived by his parents, James and Mary Elizabeth Brown and his brother, artist Greg Brown, who completed the house project and opened it as the Roger Brown Rock House Museum in 1999. Brown is buried in Opelika, Alabama. A cenotaph for Brown was placed next to the grave of George Veronda (Brown's partner from 1972 until Veronda's death in 1984) in Chicago's Graceland Cemetery.

Roger Brown's rich artistic career was at once intensely original and personal, while also exemplifying a significant aspect of Chicago's art history, which has had considerable impact on our art culture, in and beyond Chicago. In addition to his consistent and enormously prolific life as an artist, Roger was deeply involved in the research of his family's genealogy, tracing his lineage prodigiously, and discovering relationships to Elvis Presley and Tallulah Bankhead within his family tree.

In October 2004 Brown received a significant honor from the City of Chicago. The Chicago Commission on Human Relations' Advisory Council on Lesbian, Gay, Bisexual and Transgender Issues inducted Roger Brown (among other notable individuals and organizations) into the world's only known municipally-sponsored hall of fame that honors members of the lesbian, gay, bisexual, and transgender (LGBT) communities. Information about the LGBT Hall of Fame, and Brown's induction into it can be found at

A letter from Mayor Daley states:
"Mr. Brown's induction reflects the City's pride in his artwork and many accomplishments. His striking paintings contributed to the rise of the City of Chicago as an international center for the arts and his longstanding support for our gay and lesbian communities made a real difference in the lives of our residents. I am delighted to welcome Mr. Brown into the honored company of those for whom civic pride is a matter of personal responsibility."

 text above found here