I am a window cleaner. I’ve been to the McLeans’ house before, but I got really excited when I saw Bruce’s paintings hanging outside their house. As Barb explained, “We simply ran out of room inside!”

They look fabulous hanging there!

Here are the photos I took outside, inside his studio and inside the house. Also, there is some artwork by Bruce’s mother, Colleen McLean, who was also very prolific.

If you’re interested, you may contact the artist at: brucezeus@comcast.net

Enjoy!

“OUTSIDE ART”

INSIDE BRUCE’S STUDIO

with 2 candles

1112

15

Reversible Voodoo Doll

16

2 part canvas

Skulls with fence posts. Some people like skulls, others do not. I think they’re stratifying that way, with all kinds of reasons for people’s likes and dislikes. I always like to think of them in terms of Mexican folklore and their Dia de Muertos.

“INSIDE ART”

I like how the borders of this painting resmble stained glass

THE ART OF COLLEEN McLEAN

Portrait of Bruce McLean

Portrait of Barb McLean

 

 

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Google defined bohemia as: noun  socially unconventional, artistic people and the areas they frequent, viewed collectively.

The quotation below is from David Hockney in the 2016 DVD documentary Hockney.  It really struck me as emblematic of changing times and culture. I enjoyed the film and recommend it.

He said, “[AIDS] did change New York. I think it’s that that changed it more than anything else… Because when I think of all those people, if they were still there in New York, New York would be different today. It would. There would be bohemia still. And that’s the world I arrived in. And that’s the world that I lived in, actually.”

Peter Getting Out Of Nick’s Pool by David Hockney, 1966

 

4/5 Stars ****

The Pre-Raphaelite Brotherhood was an influential movement in mid 19th century England that strove to throw off the stifling, classicist reigns of the art “establishment” (personified as The Royal Academy of Arts.) If you are interested in art, this 6-hour series is an excellent, condensed introduction to the story, imbued with all the drama and pathos, of how change was wrought. But as Fanny Moyle, the author of the book which it’s based on, says in her interview (an extra on the first disc), “I think what really interests me about that period and the Pre-Raphaelites is how modern they are. How iconic their relationships are. It could be happening today…”

As she goes on to say: “The Royal Academy had been set up by Sir Joshua Reynolds, the great painter towards the end of the 18th century. And it was an institution that dominated both the training of British artists, but also taste and opinion. It determined what was considered good art. And Reynolds, when he set up the Academy, had written, if you like – to be crude – a sort of rulebook about what he considered good art; and this had been interpreted and sort of ingrained in the thinking of the Royal Academy. This was really an art in what’s now referred to as the Grand Manner, when there were very particular rules of composition and of what was considered beauty. Beauty was something that was not real. Realism was not part of the Royal Academy doctrine, but idealization.”

“Now, all the Pre-Raphaelites went through the Royal Academy schools, which was a very rigorous academic training. And really, anyone who really, seriously wanted a career as a painter, if they could they would try and get into the Academy because it was an institution that once… Once you’d been through the mill, it spat you out into the establishment and it provided a market for your work, really.”

“So all of them were trained. …And what was so extraordinary was the way they turned on the Academy and said, “This is all rubbish, these rules.” That, “Life isn’t like this. We want to paint stuff that is real. We don’t want to do idealized images of the Virgin child. We want to find girls on the streets who look real and we want to paint them the way they look.”

Here is some humorous dialogue from the movie, at the annual Academy exhibition: Curator: “Is something troubling you gentlemen?” Millais: “We were just a little concerned about the position of our paintings [way up high by the ceiling.]” Curator: “What appears to be the problem?” Rossetti: “The problem isn’t so much that you put the work of these two men of genius so, so far above the line that you’d need a ladder to see them; it’s what you put on the line. On the line, Mr. Stone. I mean, look at this [pointing at a painting of three cherubs.] I’ve seen stains on a chamber pot with more artistic merit.”

Fanny Moyle goes on to say, “…It’s really hard today to understand how powerful Ruskin [the art critic] was as a critic and writer. But he was extraordinarily influential. The brotherhood had suffered two years of terrible criticism. Utter criticism. I mean, these were artists on their knees, where pretty much every national newspaper had said their art was awful, they were an outrage, they were an affront, they were audacious whippersnappers.”

“…Ruskin stayed silent throughout this period [1849-1851]. Then in 1851, Ruskin wrote a letter to The Times and he said he thought that, contrary to what everyone else was saying, in fact the Pre-Raphaelite Brotherhood could be the best thing for British art in the last 300 years. And then the minute he said that, other people shut up.”

“…It’s very interesting that Millais, in particular – his paintings of women, like Ophelia; like another painting he did called Mariana; were very, very, very popular with the female audience. There are descriptions that when these paintings went on show, there was just rows of bonnets. You know, women were desperate to see these pictures. And they are pictures that are highly sexed. I mean Ophelia is a woman drowning, but she’s also a woman in an almost sort of orgasmic sort of position.”

“What is extraordinary about these young men [twenty] – unmarried, very young, in mid-Victorian society – they were painting female sexual appetite; or Millais, particularly, was. And certainly you don’t really see the critics mentioning it overtly, but the public reaction implies … that the public understood that intention.”

Fanny Moyle’s interview is brilliant, as you might expect from the person who, in fact, “wrote the book”: Desperate Romantics: The Private Lives Of The Pre-Raphaelites. Her interview is an extra on the first of the two DVDs. I would recommend listening to her interview first. It doesn’t contain any spoilers – but it should help flesh out the story and give you background and perspective. The character Fred is a composite. Most of the rest of the characters are real historical characters. The timeline has been condensed.

This film was was made and released in 2014/2015.

This film was was made and released in 2014/2015.

Five Stars

I was pleasantly surprised! It sat on my shelf for a while until I got around to it. I’m glad that I did. It wasn’t what I thought it was going to be – it’s not a political correctness polemic.

It’s surprising how taboo this subject seems to have been.  The film – the director/writer/producer/actor’s personal journey – is therefore fascinating. It explores some of the mechanics of voice; the cultural meanings; and the misogyny behind this question.

Ultimately, very much an affirmation for being yourself; for being queer, even.

 

Seen around Seattle.

(try clicking on images to see enlargement – click more than once)

When things go wrong for no reason.... must be that ol' devil SNAFU

When things go wrong for no reason…. must be that ol’ devil snafu!!

2016-07-21 17.12.18

.

left

left

2016-08-13 12.38.06

middle

2016-08-13 12.38.28

right

mosquitos!  (left)

mosquitos! (left)

mosquitos (middle)

mosquitos (middle)

mosquitos  (right)

mosquitos (right)

left    (Partly painted over. Did the artist forget to not paint over the car's info numbers?)

left ….(Partly painted over. Did the artist paint over the car’s info numbers? This results in problems for the railroad, gets your work painted over and creates a lot of animosity. See 3rd photo after this. )

right   Looks like a jailbreak!

right      Looks like a jailbreak!

oh, and while we're on the subject of 'crime' - jerms would appear to be a crook 4 life

I think this is a tribute by Jerms to Crook 4 Lyfe. I think the halo means deceased. R.I.P.!

2016-07-21 17.11.31

Somebody wrote “Kill all Taggers” over this. A railroad worker, maybe? Geez!…

2016-07-18 16.11.26

MYASS!

(try clicking on images to see enlargement – click more than once)

2016-07-18 16.10.21

“a rusting Picasso” – modern art!

(try clicking on images to see enlargement – click more than once)

Sequence:

Sequence:  four cars

car one: troubling times

car one: troubling times

detail one

detail

detail 2

detail

on the right of car one: not exactly Picasso... something new

car one, right side
Take a gander at that! Not exactly Picasso… something new!

(try clicking on images to see enlargement – click more than once)

car two  (left)

car two (left)

car two (right)

car two (right)

left

car three – left

middle

car three – middle

right     Space 1134

car three – right / signed “Space 1134”

car four – signed “Glare Cloud” (with a heart)

left -

left – “Leper”

right -

right – “Serup”

It is good to have friends!

Don’t tell me I’ll go to heaven when I die; if I lead a righteous life. I’m already there. We all are.

What? Yes, that’s right, you heard me.

I am a human ‘being’, not a human ‘doing’.

Sometimes I am a human ‘doing’.

*

But really.

What could be more heavenly than being defined at birth as a human – being… With nothing more required than that, if you choose… Just, ‘being’…

And don’t say, “An angel!” I would say, “A bird of some sort!”

P.S. Ever been annoyed at crows loudly scolding each other? Feed ’em! They’re hungry! Cat food works.

*

To be defined as a human ‘being’….

Nice. Life is good.