By Mohamed Zeeshan
US President Barack Obama recently moved the Congress to authorize his proposed plan of action in Syria and the future there seems rather uncertain. But while the world ponders over the now well-escalated and seemingly unsolvable crisis in Syria, let’s move away from the Middle East to yet another restive region, not too far away – in Afghanistan.
Where does India now take its Afghan adventure?
Before answering that question, let’s first understand Afghanistan. The country, as is well known, is impoverished and hungry after being ravaged by a decades-old conflict. Added to that is the fact that democracy is in its infancy stage and if Afghanistan were to become a true democracy in the midst of Islamist terror, it would create history as the first ever nation to do so. The Islamists meanwhile will do all that is in their power to stop this from happening, and with the NATO troops scheduled to leave shortly, will also have the requisite space to do it. The Pakistan Mujahideen, who are spreading like wildfire today, too will have an added interest in helping the Islamists recapture Afghanistan for the obvious reasons of their natural opposition to liberalism and democracy. And if the Islamists, along with the Mujahideen do indeed succeed in their mission, far-reaching catastrophes will consequently play out. In neighboring Pakistan, the rejuvenation of democracy in the form of Prime Minister Nawaz Sharif’s government would be challenged as the Mujahideen-Islamist nexus of Afghanistan looks to unsettle him. That apart, of course, if the Islamists do succeed in Afghanistan, world terror would thrive, the Arab Spring would get more bloody and Afghanistan itself will likely slip into yet another civil war.
All this brings responsibilities on the shoulders of New Delhi, the regional power and the mature democracy. New Delhi’s challenge will lie in helping democracy establish itself firmly in Afghanistan. That would require India to help develop the lives of the Afghan people, by providing them with education, infrastructure and employment opportunities. The greatest headache for India in trying to do so is to ensure that they don’t get militarily involved in Afghanistan as the Americans did. The growing security threat to Indian embassies and consulates in Afghanistan will provoke them to do so, as can be seen by New Delhi’s decision to deploy extra troops to protect its interests. But the trouble with being involved militarily, apart from the fact that it is costly, is that an armed operation does not help further the lives of the local people; rather, it will turn them against you. India’s bid to help the Afghans rise economically would require them to engage socially and culturally with the Afghans – something the Americans failed to do.
A worthwhile way to do so would be to establish an Indian Peace Corps – perhaps in line with President Kennedy’s US Peace Corps – which can consist of young educated volunteers who live and work in Afghanistan, helping do humanitarian work, and spread literacy, education, employment etc. Of course, as always, with the Islamists vowing to bring down any such attempts by the Indians, there will be a grave threat to the security of such workers. That’s where India needs to continue training the Afghan police and military so that the local forces can soon take over the responsibility of maintaining law and order.
India needs to realize its responsibilities in Afghanistan and act accordingly in the face of obvious opposition. The road will be rough for both nations and the region, but for New Delhi, this is not just a responsibility; it is also an opportunity in its quest to secure lasting peace in South Asia.
Originally posted on The Starving Artists Guild site.
Jean-Michel Basquiat was a figure who seems to overshadow his own art. An artists success is largely determined by who they know or who knows them. Basquiat was able to ride his wave of popularity and social success into a booming career. Some art critics question if he added anything truly new to the history of art. His contribution to art history is one that leads to the future of art and artists. Like Keith Haring Basquiat gained popularity for graffiti. Basquiat gained fame and recognition for graffiti before he ever painted on canvas. His painting on canvas was a result from his popularity for graffiti.
Street art is not permanent. Artists often consider the life of their work. Painters will seek materials and techniques that will stand the test of time. Tagging is temporary. It is said to be a popularity game. The idea is said tot be that your name is seen and you are known. The rise of street art and artists from this scene really boomed in the 90′s and early 21st century. Two artists who gained popularity or really the ones who accomplished this first were Jean-Michel Basquiat and Keith Haring. You can see their importance in that they were early pioneers in the modern relevant medium.
Who is SAMO? Witty quotes began to show up on walls signed SAMO. They soon gained popularity in the thriving art community of New York in the late 70′s and early 80′s. Basquiat was one person who was behind the SAMO tag. The SAMO (pronounced Same-Oh) tag started more as an inside joke “Same Old Shit’. SAMO was not only Basquiat, but he seems to be the one who is most remembered from this. Al Diaz was there from the start the other SAMO. Really SAMO was a rise of an image, not an image on a canvas but an image of SAMO the image of Basquiat in culture.
We can now tie in the idea of street art as fleeting and the image of the artist. Street art is elusive. So the desire from the art world is to own a piece of this elusive art. Basquiat was given the opportunity to put his brush to canvas after his rise to popularity in the art community. Art critics are seeking a hot story, a career to latch on to. Art buyers are investing, trying to buy what they are going to resell at a higher price. The beauty of art is that an artists art will always be scarce. You may be able to create endless prints of Rembrandt but the amount of original Rembrandt paintings will always be limited and scarce. The real money is not in being the artist but in being the one who buys and sells the art. Street art is even more scarce and fleeting.
The art culture of the late 70′s and early 80′s of New York was a unique period of art history. Gone were the days of importing communist art like Diego Rivera here was the world where youth, corporate advertising, young ambition and creativity all met at the alter of fame and glamor. Punk Rock happened. Hip hop was rising. The revolutionary thoughts of the 60′s were remembered but liberalism was now hip and devoured by capitalism. Gay culture was emerging from the closet the ball scene was coming to light and where we were finding liberation culturally it was being consumed by the global market. Exploitation of artists and creatives was embraced by those who made the real money off of it and the artists who were sucking on the tit of the capitalist cow. You can see positives and negatives in this world.
Andy Warhol is a symbol of this decade. Although most of his career occurred in the decades leading up to the 80′s he lived to see this final decade where his art was not as cutting edge. He lived to see his career embodied in the culture around. It is not a shock that so much of the 80′s were so defined by the vibrant colors. Is it any wonder that the clean crisp image of pop art that so invasively intruded on the decade would bring about the rough impromptu of street art? Any other decade would have shunned this. There is far too much to love and despise about the art world of the time.
Basquiat was a product like any other. Madonna, Deborah Harry and Keith Harring emerging from this world were all products as artists who emerged from this time. In Basquiat’s last encounter with Al Diaz, he gave him a painting To SAMO From Samo it said. Al Diaz turned around and sold it. The friendship was more than this painting, yet it was a strong symbol of this painting. It was one Al Diaz regretfully turned around and sold. The money present at the time seemed to engulf any meaning behind the art. This truly human connection of love and admiration from one friend to another was still something to be bought and sold. Don’t shame Diaz for this, his reasons are almost irrelevant. He was one artist in a sea of capitalism. What he did was almost nothing compared to what the art world does every day. If the words “To SAMO From SAMO” were written on any of his other paintings it may be overlooked, almost meaningless in comparison. It was the desire of the buyer to own that piece of their shared life their history and the meaning behind their relationship that made this piece one to remember. This makes the sale of this one piece of art important arguably more so than any other sale of a Basquiat. It shows the readiness to consume and own the lives of others. Anything is fair game in capitalism. Anything can be exploited in capitalism.
All your cares are dead,
like the leaves that have fallen
upon your dampened head.
When the gates are open do you go out riding?
When the gates are closed do you continue hiding?
Who’s to say the day is dark at six?
When the lights are out before dinner, we still play like kids.
Originally posted at Le Rouge et Le Noir
If you are like me then you are always needing more art materials, and art materials can get steep. If you just walk into the art store to buy what you need without planning it you can easily go broke. It takes some strategy. Here are a few tips that I try to do when I need art materials.
1. Buy Ahead
It is wise to buy supplies before hand. If you wait until you need the supplies you will most likely have to purchase at full price for convenience. When looking at the other suggestions remember that you will be buying for the future or what you will be needing down the road. Plan ahead and save.
2. Subscribe to mailing lists
Most art supply stores and hobby stores offer a mailing list you can join. Go ahead and subscribe to every mailing list and email list. These places are constantly offering incentives to get you in the door. They will often e-mail out coupons for 30% – 40% off the list price of materials. If you are buying ahead of time you can use these incentives to your benefit.
Some stores offer cards or memberships that are worth looking into. Creative Coldsnow offers a customer card that gives you $10 off for every $100 spent. If you are buying art supplies regularly you that $10 off can add up quick. If you catch the sales and an incentive like this at the same time you will really be saving.
3. Buy Online
Buying online can save if you go to the right places. A lot of people are selling the same materials online as they do in the stores at similar prices, sometimes higher or lower. With shipping it might not save you a dime. What you need to do is look at places like craigslist and ebay. It is easy to find full priced items on ebay, but if you watch regularly you will find lots of items at great discounts. I have bought what would cost near $600 to buy in a store for as low as $50 on ebay. The key is to watch and look for the deals. Watching regularly will help to find them as well as looking at auctions that end in the middle of the week, they tend to get less attention and go for less than auctions ending in a weekend. Some items are also good to buy slightly damaged or used. Only you can make that call for your needs.
4. Make Your Art Supplies
Canvas is one thing that is easy to start doing yourself and practical to save money. If you buy larger canvases a lot you know they can get pricy. It is good to be shopping for affordable canvas to stretch yourself. Some artists even use bed sheets instead they can be picked up at a local thrift store for cheap. I will watch local fabric stores for sales. I picked up about 4 yards of canvas at a fabric store recently at 50% off the normal price. Higher quality canvases are not easy to find this way you will drop a pretty penny, but if you are stretching your own canvas and building frames you will save a great deal either way compared to buying them prefabricated. I only stretch larger canvases because it is cheap and affordable to buy smaller canvases in packs and the savings in building them yourself is not worth the effort to me.
Paint is another supply that is easy to make. Oil paint specifically is easy to make. You will need a muller, glass, linseed oil, a pallet knife and pigment. You can purchase pigments many places online. They tend to go for less than the oil paint does. Oil paint is simple. Pigment mixed with a few drops of linseed oil and ground in with a Muller. It is easier to get a high quality paint this way for cheaper. Many student grades and some larger brands have filler and other pigments in them. Good pure pigmented paints are expensive. Doing it yourself can be a wonderful option to invest in.
Another thing that I can suggest making yourself is easels. There are some DIY videos out there and it’s not really difficult if you know what you are doing. It only costs a bit of lumber and hardware as opposed to the hundreds they often charge for them. I have not done this yet, but have plans to build a few next year.
5. Other Artists
I have a lot of art materials that I have never used. I have have given away materials or sold them for really cheap, as well as bought some from others. It’s a good idea to talk to other artists and put it out there. You can pick up stuff from people that they may not use as much for their medium and possibly help another artist out at the same time.
Perhaps pulling resources can help artists too. See what you can share and work together with. Or look at what you have started to do. Are you stretching canvas? Perhaps your fellow artist is making paint. The two of you can chip in on the raw materials and make exchanges on materials you have both made.
In the first part of the 20th century any woman who would have an affair with a Nazi and dress like a man would instantly cause waves and be looked down upon by high society. Born in the later part of the 1800′s in a poor house raised in an orphanage and singing in a cabaret, Coco Chanel rose from these proletarian beginnings to revolutionize fashion for the very bourgeois society she was once rejected from. Chanel stood strong against accepted society and made changes in society that last to this day.
Coco Chanel is known today as a name of high couture fashion and is associated with the capitalism and the bourgeois. If you know anything about fashion or culture you most likely know the name Chanel. Coco Chanel was more to the world than just a name brand, but a woman artist whose craft changed the world and lent to the liberation of women.
Chanel was born in the late 1800′s in a world where woman’s fashion was made to appeal to men. Men were the dominant designers of woman’s clothes. Chanel showed up dressed like a man breaking the restrictions of culture and fashion. Chanels’ boutique in Paris began to sell clothing for women that were less restrictive and less binding than conventional fashion. She began to introduce comfortable material such as Jersey to women fashion which was unheard of at the time and many saw as completely unacceptable.
Chanel pushed up against the fashion of women being bound up to be presentable by a man’s standard and moved towards a woman’s fashion striving for comfort and function. Chanel first introduced Jersey to fashion as the working woman’s uniform. Little black jersey dresses were introduced, the LBD (little black dress). Chanel was a woman designing clothes that were practical and comfortable for other women. This may not sound that amazing in the 21st century to many, but at the beginning of the 20th century this was unheard of.
Not only was there the love affair with a Nazi officer but now there are claims that Chanel was a Nazi spy. Is this true? It is possible. Is this a reaction out of fear to a strong woman who pushed up against patriarchy? This is also possible.
It would be easy to point to Chanel’s outspoken voice of woman’s liberation and paint her only as a feminist and one who fought for woman’s liberation through her art and craft. It would be just as easy to point to her associations during WWII and paint her as a Nazi sympathizer and demonize her. In the same regard we could take Chanel and point to either the capitalist enterprise that was born of her name, or even the poverty stricken orphan who rose to greatness. The most accurate way to take all of these aspects of Chanel would be to say she was a complete person with great achievements as well as foibles and flaws.
By: Scott F | Oct 9, 2012 Art
Scottish poetry has moved on quite considerably since the days of Robert Burns. We now have rebels like Tom Leonard bucking the establishment in all sorts of ways including in terms of prescriptive linguistics.Scottish poetry has really moved away from the rut it was stuck in for many years post-Burns ,an era which produced many an imitator for better or for worse(Mostly the worse). Scottish poetry retains many similar aims and themes as our national Bard did but now explores them in a modern context.
My favourite recent discovery of one such poet is Rab Wilson. Rab Wilson was born in New Cumnock,Ayrshire(Burns country) in 1960 and in a lot of ways embodies a mix of modern Scottish concerns with a spice of the Burns spirit.
His poetry often speaks of the devastation and sense of hopelessness left in Scotland after the shutting down of the pits in the wake of the miners strike of 1984.The Miners fought galliantly against the beast of Thatcherism but a victory over the tories, they didn’t come to see. Instead future Scottish generations live in the shadow of those decisions and many communities still ache with hurt and burn with fury with what happened then. For some there is no future.It was all their life was and to them the fact their community has lost industries like coal mining or in other cases ship building(most famously on the Clyde)
Rab Wilson had seen both aspects to that historical era being from a mining village himself, working in the pits and striking with the rest.His poems convey the sense of hollowness and mourning in these preceding years. He takes it as a major theme, even devoting a series of poems to versifying the words of ex miners from around Scotland.
Rab Wilson is first and foremost a poet of the working class. Not content to sit on his arse and pen from his chair ,he’s been known to get himself involved in a range of socialist causes and champion the workers wherever he goes for example speaking in favourite of keeping Johnnie walker in it’s traditional location in Kilmarnock to preserve the working people’s jobs.
His adds his voice to a number of very working class poets who are critical of the safe convenient establishment middle class poetry of your average poet. He aims to speak to your average person and cover topics that would make sense to them(generally).
Rab could be called a modern ‘makar’.He has brought the Scots from Burns and others into the modern day, he shows it isn’t and never was dead. He speaks and writes in scots because it is the person on the streets tongue and one most people in Scotland identify with.More important it’s the working class voice.Rab Wilson’s a great talent for my country and I hope he continues to do what he does best.He’s an innovator and literary dynamite in a flotsam of typically bland safe unpolitical cliché poetry in many sectors in modern poetry.
“A different class o fowk,an ah mean it,
A place ye’d nevvir tae ask fir a haun.
In this world nou they’d stab their ain brither!
Doun there ye looked eftir yin anither.
(From his series Somewhaur in the Daurk,sonnets inspired by the Miners Strike of 1984-1985)
Alphonse Mucha started the art nouveau movement. Art began to take a turn to counter the industrial revolution much like the workers movement of the time in the late 1800′s and early 1900′s. Mucha’s style was popularized with a poster of the French actress Sarah Bernhardt. When art nouveau arived it was initially known as Mucha Style. The style embraced organic lines inspired by nature. At the same time the old Victorian style had become mass produced and cheap. The industrial revolution created a whole new monstrosity of low quality art and furniture. Art nouveau, Art Deco and most specifically the Arts and Crafts movement were revolutions against the cheap Victorian style which was dominated by mass production. High artistry and high quality of workers craftsmanship would come to dominate these styles in contrast to mass production.
At the turn of the century and on into the 20′s and 30′s we saw the workers movement. There was a revolution of the workers brewing against the wealthy capitalist the owner of industry. At the same time not only were the philosophies of the working people rising to liberation from their cheapened status in society, but so was the art and architecture. The working class ethic was strong through both the art world and the common people. Which made Mucha more relevant with the rise or industry. Mucha believed that art should be for all. His art crossed the lines of design and fine art. He was creating works for products from posters to packaging. So now the working class could hold a piece of beauty when they purchased a product or when they were going to see Sarah Bernhardt at the Theater.
Art would mirror the working class movements in ethics, a workers pride in their work. Art would mirror the working class movements in the ability to bring art to the common working class.
His revolutionary status in art and design influences us to this day. Artists and designers are abundant and the line between art and design is often blurred. I spent my life as an artist. Over the last decade I was able to eat and pay the bills because of my ability to use this art in design for commercial purposes. Now here lies the irony. From the working class ethic that stood against mass production of products and the industrialization of society we see that this was hijacked by the capitalist and used to further promote capitalism in our society. Art as revolution against the system has become art to support the system. As long as capitalism exists art will be forced into submission to capitalism.
After his experience eating in The Four Seasons restaurant Rothko breached contract, returned the advance and kept the paintings. This was the world Rothko saw with such disdain. This is the world that worships mindlessly the legacy of the socialist Mark Rothko. Like most other artists Rothko found himself in a place that in order to continue to paint he must paint for the ruling class.
On February 25th of 1970 artist Mark Rothko took his life by cutting his arms with a razor the very same day nine of his paintings arrived at London’s Tate Gallery. He was found in his kitchen covered in blood. Mark Rothko took some barbiturates and opened a vein in his arm. Today Rothko lives on in his work, owned by the bourgeoisie. The rich and powerful can afford to buy one of his paintings. His painting Orange, Red, Yellow sold for $86,882,500 on May 8, 2012. This striving to own a part of this man may be one of the biggest slaps in the face he could receive. Mark Rothko was not silent about his feeling for the Bourgeoisie. As well as being a painter he was also a member of the IWW. In 1958 Rothko began a commission for the Seagram’s building and the luxury restaurant The Four Seasons. He set out with the goal of painting “something that will ruin the appetite of every son-of-a-bitch who ever eats in that room. If the restaurant would refuse to put up my murals, that would be the ultimate compliment. But they won’t. People can stand anything these days.”
Rothko was a Russian Jewish Immigrant like many anarchists of the early 20th Century. He spoke of growing up an anarchist and how he saw Emma Goldman giving her speeches as a boy.
Later in life with the death of the Russian Revolution, the destruction of the Spanish Revolution by Communists and Fascists, and the rise of the Nazis Rothko became disillusioned as to whether there was any hope for social change. But he claimed “I am still an anarchist”! – from libcom.org
Born in 1903, Rothko dropped out of Yale after two years to spend the next twenty as an obscure artist in new york. It was not until abstract expressionism began to boom in the 50′s that Rothko began to be appreciated and accepted as ‘an American Master’ in his field. Although Rothko rejected abstraction and color field painters he became possibly one of the most the most know color field painters and abstract artists. Rothko became unique in his ability to use color to invoke emotion in the viewer.
I strongly suggest checking out Simon Schama’s Power of Art episode featuring Mark Rothko:
in a story where I am not the narrator.
Just an actor in a commercial,
I am compelled to be compelled.
Each filthy action is a toy in the hands of ghosts.
The roads all intersect in this hive of shadows,
a divine spark removed with each turn,
that leads to an American dream.
Selling to Minors
It’s quite easy nowadays,
selling to minors.
Here comes the parade.
Thrift store crash of psychopathic characters.
Infinite crazy explosions,
rolling out on neurotic love waves.
It’s the last hurrah,
filled with jeers, and cheers, then tears.
Cannons fire filling the air with Pop Rocks
and cotton candy confetti.
The kids are satiated.
Some of the kids in their skinny jeans,
had to make room in their drawers when they shit themselves.
It all becomes a cheap action film,
getting cheesier with every little big death.
Where is Charles Bronson when you need him?
Burt Lancaster, Kirk Douglas?
The jugglers continue juggling,
and the clowns still honk their noses.
I still gnash my teeth.
I looked in the mirror this morning and saw my grandfather’s eyes staring back at me.
Okay, here we go. I have been focusing a lot of my effort on art lately. I have my children now full time so being a full time stay at home Dad had taken up a lot of my time. I am working on some new posts for Gonzo Times and am going to be looking for some new writers to come on here and help take Gonzo Times to it’s next phase. So, what is going on with all the art lately?
The Anarchist Portrait Project is under way. So far there are some completed but the support has not been the greatest. I am still going forward with it and pushing through. You can donate to help support the project here. I am doing a plethora of anarchists of a variety of beliefs, not all may get along all that well.
I am also selling some merchandise on Cafe Press. I am trying to post a new painting on there every week for a while. So far there are two. Please take the time to purchase a mug, coaster or t-shirt with one of my paintings. I only get a fraction of the price, but every bit helps.
I am also currently running a contest on my personal site where I promote my art, shanethayer.com. I am offering a free portrait or commission for the blog post that can bring in the most traffic. So, please take the time to check it out and help me out a bit with a post on your blog.
There are still prints of paintings available on saatchi online. So, any support with donations, helping to get the word out on the anarchist portrait project or any purchase of merch on cafe press or of prints helps me to be able to continue to afford to keep painting. Thanks for all the support.
The anarchist portrait project is underway, and I am excited to show off the first round of portraits. I am planning on revealing the first round in July. Until then we need support. You can help the project by purchasing a painting or donating. You can donate here. Or scroll through the paintings below and click on the one you want to purchase it. The money from the paintings will be going to the project. We need studio space and a great deal of materials to move forward. Please help by purchasing a painting or donating today.
So far We have started on Kevin Carson, Paula Carter, Punk Johnny Cash and Matt D. Harris.
We have many other anarchists who are going to be started soon including Gonzo Times own Jehu.
There are many who are still up in the air. I have contacted Noam Chomsky and Starhawk also. Both have responded, but neither has confirmed that they are in yet. There are many other names to be added to the list officially soon though and hopefully Noam Chomsky and Starhawk will be listed among them. We have IWW members, Catholic Workers and more. If you are interested in being in the project please contact me.
I have begun a project to paint Portraits of Anarchists in front of the Red and Black (Colors may vary) I will be attempting to put up to 40 hours a week into this project. It will depend on how much support it gets, so please donate or help promote this on your social media.
UPDATE: It looks like we currently have Noam Chomsky, Steve Ignorant, Kevin Carson, Chuck Munson, Punk Johnny Cash, Paula Carter, and Pete Earle who have agreed to be subjects for the portraits. There are others, but I am still uncertain to which ones will stick with it, so I will announce more names later. The first painting is hanging at that Artmoshphere gallery on Troost in Kansas City. I am trying to get a more diverse group so we are seeking more women and trans people. We have had some donate various art supplies. You can also donate supplies, visit the Anarchist Portrait Project Wish List on Dick Blick. We have talked about compiling a book with the paintings, it may be something more than just paintings. More details on that in the near future. We really need any financial support we can get also. I am still working without any studio space. You can see my art at shanethayer.com
Why it needs to be done.
Through history we have recorded the images of the wealthy and powerful rulers of society. Those who have ties to the state and church were traditionally painted. Art was funded by the church and the rulers of society. Museums are mostly owned and run by the state. I wish to crowdsource the project as opposed to looking towards one powerful ruling entity to make this happen. This is an attempt to add to the paintings that exist in museums around the world. I want to create a body of work that records anarchists. I am using high quality materials the paints are Williamsburg handmade Oil Paints which are made from pigments that have proven to last the test of time. The initial financial asking is to secure the studio as well as materials to support the project. It does not pay my basic need like gas, rent etc… It is focused on just funding the production of the art.
Art for anarchist museums.
The reason I want the materials to be so high quality is so we can create a body of work that will last the test of time, so that if an anarchist society is not achieved for another 500 years these pieces will be around to hang in anarchist museums when we have reached our goals.
I wish for this body of work to go down in history. We visit museums and see the powerful rulers of a time past. One day our ancestors can visit a museum and see us. The anarchists that opposed a new society, those who stood for what was right in the face of the violent rulers of the past.
Please, help financially if you can. If you can not, then you can help us by sharing this project and helping it to get attention. Share through social media or through e-mail. Help by posting the Chip-in widget on your site. You can blog about it and help get attention and link back to this project that way. Any help is appreciated.
What Will Be Done With The Paintings?
The paintings will be available through different forms. I will make prints available as cheap as possible. I will be working on putting together a gallery showing for the collection. What galleries and cities? I don’t know, that will depend on how much support they get, so your support is important. Depending on support we will also attempt to eventually put out a book. The funding and specifics will all depend on the support it gets. It may just be on a print to order place, or more all depending on the support this receives. So what happens to the work will depend on the support it receives. Some of the paintings will be up for sale to help me break even on this project.
What Do You Get for Financial Support?
$10 A thank you listed on the website and access to members only blog giving regular updates on progress.
$25 A link to your site on Gonzo Times on posts about the Anarchist Portraits Series.
$100 Listed as Financial Support online and at any show that is set up for the Anarchist Portrait series.
$500 An original Oil Painting 12×12 of Emma Goldman
$1,000 I will paint an original portrait of you, or of your choice. 24×36 aprox.
$2,000 You can own one of the original Anarchist Portrait paintings in the series 36 x 46
$60,000 You get over 1,000 hours of work over a 52 week period. This covers hourly labor and materials for paintings. That can be a lot of paintings over a year. This ensures I have a studio and materials and gives half of the studio time during a work week to building up art for you or your organization. This covers my basic necessities and gives you the art you want as half of my time in studio will be focused on your art. This can equal a lot of paintings depending on the size and complexity. To give you an idea, the Emma Goldman piece took about 3 hours, the Anarchist Portraits have been taking about 40 hours.
The strength of the state is the gun. I finished this piece last week. It is 24 x 48 in. This highlights a problem we see in the media and more importantly one that is overlooked often by the media. The use of violence and it’s relationship to racism within police departments all across the United States.
You can purchase prints here on saatchi. Please help keep me painting by buying prints. What I make off them goes right back into canvas and paints so I can continue to paint. Any help is appreciated. This was originally posted on my personal blog here. And any help reposting and spreading this is greatly appreciated. I ask if you use the image if you could link back either to the saatchi page it is for sale on or the original post on my personal site. Thanks and enjoy…
Please feel free to repost this image. I do however ask that if you do you could link to the original post on shanethayer.com so it will help get some attention for my work.
Please purchase a print so I can afford to continue to buy canvas and materials for the rest of the series. The original picture is for sale on Saatchi Online here. You can also buy prints of the image starting at $25.00 here also.
As I was painting the picture of the CEO of McDonalds eating his hamburger in front of a starving child I stopped for a bit to talk to my parents. My father asked what I was doing. I simply replied “painting a picture of the CEO of McDonalds eating a cheeseburger in front of a starving child.” His response was “That’s ridiculous! He probably gives so much money to charity.” So when I got off the phone I went inside and gave him a halo.
Here are a few paintings I’m still working on. One is a look at violence by police, focusing on institutionalized racism. The other is a picture of the CEO of McDonalds eating a cheeseburger in front of a starving child. I hope to get the child one done in the next week. It takes time waiting for the oil paint to dry, and it takes many layers of glazing, so hopefully soon.
Late last year I picked up a brush again and started getting back into painting. I am working on some much more developed pieces than this one that I will hopefully will have to show soon. I am focusing great deal on subjects I have discussed here. I want to point out the violence we accept in society. Police and military are two common themes in what I have been doing. This is the first thing I painted when I picked up a brush. I didn’t have any models or source to work off which I feel makes the image less than it could be, but here it is my first painting in almost 5 years.
This was kind of inspired by Turner’s The Slave Ship. I noted that turner put the victim in the background. You kind of have to look for them. I wanted to put the perpetrator of violence in the background and bring forth the victim of violence to the forefront. The victim here is the woman in the forefront. The violation or form of harm is unclear. The red splatter could indicate actual physical trauma or it could represent mental trauma suffered.
Click here, or click on the image below to download the .zip file with an .ai and an .eps file format vector image of sabocat.
For all you Wobblies and anarchists out there have fun. I hope you can use this image in your signs, icons or wherever you need a sabocat. Feel free to do with this as you wish. As before, I would love to hear from you and see what you used this in.
Hopefully I will be giving you much more free vector art in the near future. Enjoy…
You can find the previous “power to the people” image here.
When I first moved to Kansas City I started to meet up with the CCN, the comics creator network. One of the first friends I made in the area was Mickmo. He truly is an under appreciated, under rated artist. The guy has a wonderful thing going on that is unlike any other. His style is wonderful and truly unique. I believe that in this age of flashy digital art his work is work that people often overlook.
Like myself, Mickmo has an obsession with Doctor Who and British television, he has done many wonderful images from Doctor Who. His art has been featured in many various comics. He has also done a series that I am uncomfortable with and find disturbing portraying famous killers. I keep wondering when he will get to Bush & Cheeney or add some Police and Marines to this series of killers.
The first print issue of Gonzo Times is due out next Monday and will be featuring some art by Mickmo. I wanted to announce that and show off some of his wonderful work here. Please visit his deviant art account, follow him and leave some comments on some of his images.
I’ve been thinking of posting original art here at the site. I am going to put out some more vector images in the future here for people to use. I am starting with a simple one. It’s the basic and classic power to the people fist. This image has been used countless times with countless groups. Feel free to download the file here.
And here is a variant without the other stuff, slightly longer arm, click here to download or click the image. This is in .eps vector format also.