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Lets allow Tupac to stand in for the 90s

Prints anyone??

Any image on this site can be printed for you on your choice of substrate

(for example- on glossy paper 13″ X 19″ —and mailed straightaway—

or half-size giclee on canvas with “canvas wrap” and protective coatings.)

If interested, please e-mail me. Most originals appearing here also continue to be available as original oil paintings too.

 

 Tupac, Acrylic on paper-covered aluminum panel, 18″ X 24″

Researching Tupac,for a portrait, that I wanted to be an Icon for the 90s, I found hundreds of photos, many in the public domain, but none of them was exactly what I was searching for. I wanted person separated from context. The image used for this portrait was derived from frames of a pan on a TV station video that I pieced together in Photoshop and reduced for a painting source. I used acrylics to paint it instead of oils because they lend themselves to rougher passages and are more resistant to polish. However, earlier versions were very rough and closer to the tone of his more famous songs. The roughness was lost to overpainting it. Thus, I will need to do another Tupac. This one, however I like for the eyes which are both different like east coast / west coast, .. mama’s boy / soldier, .. neighborhood kid / superstar. Remembering the 90s like that. . .

 

 

 

Read full story · Comments are closed Thom Dougherty, Painting, painter, art, fine art, gallery, television, pop art, color, broadcast TV, design, signage, Verde Valley School, Sedona, landscapes, portraiture, oils, acrylics, oil painting, Baltimore, halation, blur, glazing, rennaissance, Kehinde Wiley, Ed Pashke, Gerhard Richter

Graduation 1960, oil pastels

Read full story · Comments are closed Thom Dougherty, Painting, painter, art, fine art, gallery, television, pop art, color, broadcast TV, design, signage, Verde Valley School, Sedona, landscapes, portraiture, oils, acrylics, oil painting, Baltimore, halation, blur, glazing, rennaissance, Kehinde Wiley, Ed Pashke, Gerhard Richter

School Yard, or “Our Secret” oil on canvas stretched over plank foam

 

In School Yard, the kind of artifacts you associate with drawings are mixed with painting artfacts and broadcast artifacts  to weave an image with the feel of a film still.

Read full story · Comments are closed Thom Dougherty, Painting, painter, art, fine art, gallery, television, pop art, color, broadcast TV, design, signage, Verde Valley School, Sedona, landscapes, portraiture, oils, acrylics, oil painting, Baltimore, halation, blur, glazing, rennaissance, Kehinde Wiley, Ed Pashke, Gerhard Richter

Astro Helmet NASA Apollo missions, 1971

who among us is not in a bubble, and why would you want to be out?

 

Read full story · Comments are closed Thom Dougherty, Painting, painter, art, fine art, gallery, television, pop art, color, broadcast TV, design, signage, Verde Valley School, Sedona, landscapes, portraiture, oils, acrylics, oil painting, Baltimore, halation, blur, glazing, rennaissance, Kehinde Wiley, Ed Pashke, Gerhard Richter

Ron Evans Space Walk and capsule repair

Granted, there wasn’t real color in these NASA videos, but using color is part of what is necessary to elevate the image above its previous functional use to how we might want to use it today….as a sort of merit badge for those who remember the analog past.

Read full story · Comments are closed Thom Dougherty, Painting, painter, art, fine art, gallery, television, pop art, color, broadcast TV, design, signage, Verde Valley School, Sedona, landscapes, portraiture, oils, acrylics, oil painting, Baltimore, halation, blur, glazing, rennaissance, Kehinde Wiley, Ed Pashke, Gerhard Richter

Space Walk 3, or NASA astronaut suit on Apollo 14 mission in orbit

Apollo 17 Astronaut Space Suit in orbit

Now that there is adequate distance between us and the Apollo program for us to understand it a little better and for us to be awe struck about its brazen activities, and for us to be amused by its excesses, the thoughts of the Apollo missions are now a part of our past, childhood for some, and a secret language between us and out immediate peers. So, I believe it is time to iconize them.

Read full story · Comments are closed Thom Dougherty, Painting, painter, art, fine art, gallery, television, pop art, color, broadcast TV, design, signage, Verde Valley School, Sedona, landscapes, portraiture, oils, acrylics, oil painting, Baltimore, halation, blur, glazing, rennaissance, Kehinde Wiley, Ed Pashke, Gerhard Richter

1939-12N-36E

Sometimes when you hold a photo in your hand, and stare at it, what you are aware of seeing is the stretch of time the photo has been through to get to where we are currently inhabiting the same time-space continuum. No matter what image is on the picture, the heart of the image can be the age of the source. Instagram has several filters that instantly change a picture by making it look like it was taken in 1978, with Kodachrome, processed at FotoMat, left in a desk in the attic for 30 years, and is now pulled out into the light for the first time in decades. A dull photo of a strip mall instantly looks significant because it is now a photo about the space between 1978 and now and all the stuff that has changed in between those two points.

 

So in 1939-12N-36E, (which is actually a still from a film set amid the occupation of Southeast Asia by the Japanese) whatever we know of that time and place is forever altered by the faithfullness of the media on which it was recorded. I reproduced artifacts I have noted from several damaged film transparencies and from unrestored film from the era, and from broadcasting artifacts. Hoping to make a painting of the ladder that stretches from that place in that time to this place in this time.

When looking through binoculars, you may be more aware of what is at a distance and magnified by the binoculars and not so much aware of the binoculars and what they are doing. I was not satisfied in making a picture about another time and place, without also talking about how we know another time and place.

Read full story · Comments are closed Thom Dougherty, Painting, painter, art, fine art, gallery, television, pop art, color, broadcast TV, design, signage, Verde Valley School, Sedona, landscapes, portraiture, oils, acrylics, oil painting, Baltimore, halation, blur, glazing, rennaissance, Kehinde Wiley, Ed Pashke, Gerhard Richter

Characters

Astronaut, 48 X 96″ oil on sealed rag paper mounted on plywood

In Palenque, there is an excavated door covered in glyphs, which is the basis of the silkscreen printed for the background of this painting. Partly because I am in Sedona and there is a contingent of folks here who think that currently extinct empires such as the Mayans were once in touch with people from the stars, I painted a tongue-in-cheek picture of Elvis, posing as John Glenn, as he appeared to the public in his hand made space suit, on top of a repeated image of the Palenque glyphs. Then, I pushed the glyphs back in space (and time) with a layer of cloudy smoky blues and pinks; finally I needed to pop the astronaut forward with stronger, more primary colors, using the colors typical of a circus show poster.

 

Tarzan, Ungawa  42X62″, framed with double-exposures from TV-    53X73″

Natalie, 28 X 42″ oil on canvas

Now it is easy with a DVR to record TV and look at it frame by frame, at leisure, but a few years back it was necessary to keep a tripod in front of the television and snap pictures as the film played. No rewind possible unless using a VCR and then the image was different than what you could see on a broadcast image. Since I was studying the look of broadcast images, I kept a tripod in front of the TV and spent a lot of time later looking through the negatives on a light table to choose the best frame. Broadcast TV looks different now with better technology and the older tech that millions watched nightly shows us something about how human vision works, in that what we actually saw and what we thought we were looking at were two different things. Our optic nerves are capable of on-the-fly translations. This painting is painted with darker and lighter horizontal lines and wavy vertical lines in imitation of the kind of interference that was common in broadcast images in general and in urban areas in particular. The subject, of course, is from “Splendor in the Grass” with a scene of Natalie Wood walking out into a lake at night, in the kind of close-up we are to read as internal emotion, and, with a great actress like Natalie Wood, we are confused about what the emotion could be- several can be read into this image. Making SITG was the high point of her career. A few years later she drowned.

Rutger Hauer, oilon canvas, 30 X 40″

Hauer was the best bad guy of his generation.

Hattie McDaniel. oil on canvas, 54 X 72″

Hattie McDaniel, the first Black woman to sing on the radio in America, was in over 300 films, receiving credit for about a fourth of them. She famously said “I would rather play a maid than be one” in answer to younger, later black actors who criticized her for taking submissive roles. The Hollywood of her day was one where buxom babes ruled the day, so I painted an image of her (from Gone With the Wind), surrounded by a frame with buxom actresses sunning themselves on the beach (something I shot from TV without noting the source material). She is cold, outside at night in a bathrobe. The halation and RGB burns in the image is in the context of watching reruns on Saturday television during the later decades of the 20th century.

Japanese Marilyn, oil on canvas, 42 X 58″

On a Toshiba CRT, with the color adjustments pushed, cyan and turquoise are over-represented, which I like. I used these settings to shoot a broadcast of the 1956 movie, Bus Stop, where Marilyn Monroe plays a character closer to her own life than the rest of her more musical roles. Because it was interpreted by a Toshiba TV, I called this Japanese Marilyn.

 TV has always been a media of talking heads and when there are moments where we are intended to catch a mood or emotion, the camera often zooms in so that we get just a head shot or a partial head shot, as in this composition. Since we have grown to be video-literate, we unconsciously understand what we are to get from these shots. Three elements converge together- the subject of Marilyn for one and the zoom and color settings too, and the broadcast 256-line texture as well, if you triangulate these three you arrive at a point in the middle which is the iconization, where we gestalt the visuals into an internal image for Marilyn Monroe- the thing (not the person). Everyone paints Marilyn just as 700 years ago, everyone painted a crucifixion. This is my take around a well-tread subject.

Lassie, oil on canvas, 30 X 44″

Since I grew up with Lassie, or the collection of collies that went together to form the TV star known as Lassie, I saw her, along with Bambi, as a member of the human family. She bridged the gap between the medieval human-centric view of our living planet and the more contemporary and more inclusive view of living things as forming a whole, without hierarchy. RinTin Tin, in books, comics and in film made it possible for dogs to become stars of the silver screen but Lassie took it further and became, in the hearts of children everywhere, the idea that nature could reach down to help us when no one was looking. A painting of a collie would not be a painting of Lassie. For it to read as her, it needed to be a painting of a TV screen that was busy displaying Lassie.

Lord of the Flies, oil on panel, 36 X 48″

In a fleeting role that became fossilized, James Aubrey played Ralph in William Golding and Peter Brook’s 1963 B&W version of Lord of the Flies. Subsequent versions, while less clumsy and more complex, have never been able to achieve anything close to the same effect as the ’63 version, which reads differently for sundry viewers in different decades under contemporary circumstances, like a bowl that is able to hold both soup or porridge. The character Ralph in print and in film has been a powerful icon for me and, I believe, for others of my generation. We watch crisp, white uniforms become bloodied rags as Innocence is lost in the course of the film. I referenced this particular frame for obvious reasons. I hoped for this painting to serve as a door through which people of my generation might glimpse the point when we first realized that we had lost our hold on childhood forever.

Waxing Wayne,        oil on canvas,    42X72″

Does “waxing” mean laying down a line of rapid fire from an automatic gun mounted in a plane?
If so, a painting based on an image shot of John Wayne in a WWII movie should be called “Waxing Wayne”. This is one of the earliest examples of painting from television and the crude pixel-by-pixel coloration works like a mosaic and keeps the image generalized and not specific. The main innovation here is developing a palette of glazes that, when layered, create a brightness of color similar to a TV screen. This cannot be done with impasto painting and cannot become with many pod the pigments available to the artist, but within each hue, there are lightfast colors that will hold brightness even when layered with other hues. Even today, I still use a palette based in part on this research.

 Phone Tap, oil on canvas, 22 X 24″

A long time before internet surveillance, “G- men” (g stands for Government) would tap into phone lines and eavesdrop. This was a common theme in detective films. (Another common, though weird theme was people getting hit on the head and developing amnesia.) This is a televised (as in shot from television, based on television, looks like television) image of that popular theme.

 Susan B. Anthony, oil on canvas, 30″ X 40″

Susan B. Anthony, a Quaker activist who died more than a century ago was co-founder of the first Women’s Temperance Movement and possibly the best-known name in today’s feminist movement. Her profile was on the recent vintage of a U.S. silver dollar, which was cancelled due to the confusion between that and a quarter. Because of her importance in shaping our modern world, I sought to make a comfortable image of her. Previously, my own personal image of her, because of the high collar, stiff posture and tightly braided hair, had been a fierce and warrior-like nun. To soften her image, I painted her three times- once in yellow, once in red and once in cyan. That version was too severe as well, so I layered a permanent rose pigment over all. It makes her glow and the glow infers special powers. She’ll need it with the life-begins-at-conception sultans. (We all know life begins at the big bang.) Given her extremism and activism, it is a safe bet that she would be in jail were she alive today.

 Joey & Penny, Oil on canvas with cyanotype inlay, 34 X 46″.

Original sold, quarter-sized prints available.

 


Illusions- Bucerias, digitally composed photography and graphics.

giclee on canvas   24 X 36″
Layering 35 simplified illustrations of optical illusions, and 5 photographs of street cooking in Bucerias, and using layer modalities and transparency sliders in Photoshop, along with other compositing tools, created a digital quilt totally without meaning but kinda grounded in the cook, who was sullenly cooking intestines while his mom prepared the tortillas.

3/4 face, oil on canvas, 18 X 24″

A fragment of a fragment of a fragment.a fragment of a fragment of a fragment

 

Read full story · Comments are closed Thom Dougherty, Painting, painter, art, fine art, gallery, television, pop art, color, broadcast TV, design, signage, Verde Valley School, Sedona, landscapes, portraiture, oils, acrylics, oil painting, Baltimore, halation, blur, glazing, rennaissance, Kehinde Wiley, Ed Pashke, Gerhard Richter

more characters

Depth Gauge, oil on textured modeling gesso, 48 X 60″

A painting of a frame from Das Boot showing a retro but lively-looking gauge, is framed with a cropped face from a frame in Inoshiro Honda’s Mothra (all time fave movie). The signal for the Honda image is breaking up, and at actual size is difficult to resolve, while the central image is softened with warm color and a glass semi transparent reflection of a guy in a suit. Combinations like this are suggested unconsciously and may or may not have any further import, but if they did, it would be decayed with translations into language. They are combined and composed in a non-language area of my brain.

Lord of the Flies, oil on panel, 36 X 48″

In a fleeting role that became fossilized, James Aubrey played Ralph in William Golding and Peter Brook’s 1963 B&W version of Lord of the Flies. Subsequent versions, while less clumsy and more complex, have never been able to achieve anything close to the same effect as the ’63 version, which reads differently for sundry viewers in different decades under contemporary circumstances, like a bowl that is able to hold both soup or porridge. The character Ralph in print and in film has been a powerful icon for me and, I believe, for others of my generation. We watch crisp, white uniforms become bloodied rags as Innocence is lost in the course of the film. I referenced this particular frame for obvious reasons. I hoped for this painting to serve as a door through which people of my generation might glimpse the point when we first realized that we had lost our hold on childhood forever.

Subcommandante Marcos, oil on canvas, 18″ X 24″

During the George W. Bush presidency, the image of Ché Gueverra began appearing more and more frequently in T-shirts, tattoos and posters, magazine ads, in the background in movie sets and online postings. Alberto Korda’s photo has been around for more than a half-century, but there seem to be times when it is called upon to mean more than just an historical reference to the Cuban revolution. Along with Korda’s photos, images of Emiliano Zapata, Pancho Villa and Zapatistas also took on a new life. I remember in 1969 when the image of Mao Zedong became am modern icon. Soon afterwards Warhol used Mao, along with Marilyn and Elvis to show us our favorite commodified personalities. If we need a new one, the one that comes most readily to mind is Subcommandante Marcos, who is frequently in the press from other countries but almost never mentioned in the press in the U.S. He has published 2 books through City Lights Books of San Francisco, received college degree from U.S. institutions and successfully led uprisings in Chiapas for two decades, evading capture even while the Mexican army destroyed whole villages looking for him. Many corridos have been written about him and his friends. Surely he is a saint of our times or at least an icon equivalent of a modern Karl Marx. In researching images of him, nearly all have the pierced face covering and the pipe. I chose to not use the pipe because he is a mouthpiece for a people.I chose feminine colors because Homeland Security paints him as a terrorist, which I see as olive drab, and not fuscia. (I also wanted to connect him to the Virgen de Guadalupe.) I also made a high-contrast version of this for use on T-shirts in case anyone wants to use it.

Lincoln, oil on canvas, 30 X 40″

Am I not destroying my enemies when I make friends of them?
Abraham Lincoln

Photographs of Lincoln were more pictures about the century than pictures about the leader. But the sculpture by Daniel Chester French in the Lincoln Memorial, sitting as it does, high above our heads, is exactly evocative of a unflinching leader. I first painted it in black & white overlaying coloration later.

Swimmers 1962 X/O  mixed media on paper 22″ X 30″

 

 

 

 

Read full story · Comments are closed Thom Dougherty, Painting, painter, art, fine art, gallery, television, pop art, color, broadcast TV, design, signage, Verde Valley School, Sedona, landscapes, portraiture, oils, acrylics, oil painting, Baltimore, halation, blur, glazing, rennaissance, Kehinde Wiley, Ed Pashke, Gerhard Richter