"Poisoned Peas Please" DT Call

Ok, lots of people have been asking about it and here it is! The PPP official DT call.I want to keep things simple.One project a month will be required. You'll need to post it on your blog and turn it in to me to be posted on the PPP site.I'm in the process of having the DT badge made so you'll need to post that also, please.I'm thinking one free image from the store (TSB) a month to use on the project.Every team member will get the entire Alice In Wonderland line from TSB to get started. (In addition to your choice of image for March)I'm also looking for a DT coordinator for this site. So when you e-mail me, please specify if you're trying out for the DT or to be the DT coordinator.The first term will be from March 1-Sept. 30.Please e-mail me, Tracey at traceydawnn@msn.com, you're best alternative or just a little weird project so I can get a feel for your style.Can't wait to see all that awesome art!!!!!!!You have until February 27th to try out.Have fun, friends! xoxo,Tracey

Ippity's "Books A Flutter"

Hi everyone,Today I have a project made with the Ippity, Books a Flutter.

GHWI's challenge we have going on is a color challenge. The colors are called, Macaw Hue's from Design Seeds.

We'd love to have you all play along!! :)Have a happy Thursday!Tracey

Sideshows and Fun Fairs

Here is a sneak peak at two linocuts in progress. They are part of a long-term project, begun in 2011 at The Art Vault, that is still very much in its early stages.

 Tattooed Woman, 2012 (lino block in progress)

Bearded Lady, 2012 (lino block in progress)

References to carnivals, circuses and sideshows have sporadically appeared in my work, dating way back to childhood scribbles - although thankfully none of these are extant. Doubtless my lifelong fascination with the subject is a direct result of growing up in Blessington Street, St. Kilda, which is walking distance from Luna Park. My recollections of it include the Giggle Palace and all the mind-boggling wonders within (it has long since been destroyed by fire), the River Caves, the stomach-churning Rotor, and an extraordinary ride (dating from around 1908, if memory serves me correctly) that originated in New York’s Coney Island. The exteriors of the latter’s elegant velvet lined carriages were exquisitely hand painted – but the whiplash-inducing ride itself was definitely not for those with delicate constitutions - even by today’s standards.

Although Luna Park had already started the sad, irrevocable process of passing its prime, it still retained much of its former magic. Now, despite the best efforts of its supporters, it’s all rather generic. The magnificent Heritage Listed merry-go-round is the sole survivor from its glory days.

Luna Park, St. Kilda,  circa 1960s

In cinema circuses, carnivals and sideshows are frequently sites of chaos and evil, particularly in Film Noir and the Mystery, Thriller and Horror genres. Some notable examples (and some of my personal favourites) include The Cabinet of Doctor Caligari, (dir. Robert Wiene, 1919) Freaks (dir. Tod Browning, 1932) Nightmare Alley (dir. Edmund Goulding, 1947) The Lady from Shanghai (dir. Orson Welles, 1947) and Strangers in a Train (dir. Alfred Hitchcock, 1951.)

The Cabinet of Dr Caligari (dir. Robert Wiene, 1919)

In direct contrast is the touching scene in Hitchcock’s picaresque Saboteur (1942) in which a troupe of circus ‘freaks’ are portrayed with warmth and compassion. It was partly, if not entirely, written by Dorothy Parker. Reportedly Hitchcock was delighted with her contributions to this segment, but believed that at the time of the film’s release its subtleties were lost on most audiences.

Saboteur (dir. Alfred Hitchcock, 1942)

Here are selected examples of carnival and sideshow related images that have featured in my past work. Some may be more familiar than others. The woodcuts from the Alice in the Cities series of the late 1980s have had relatively little exposure. They are the first five images directly below. For those who are familiar with The Cabinet of Dr Caligari, its influence on these works will be more than evident.

1. Thumbing a Lift, 1989, woodcut

 2. Dum and Dee, the Incredible Siamese Twins, 1989, woodcut

3.  Playing with Fire, 1989, woodcut

4.  The Dogs Bark, and the Caravan Moves On, 1989, woodcut

5. The Curtain Descends, Everything Ends, Too Soon, Too Soon, 1989, 

woodcut, hand coloured

6. Zelda Fitzgerald and her Psychiatrist, 1991, woodcut

7. See the Lady Sawn in Half! 1996, 

linocut (diptych)

8.  Lydia the Tattooed Lady, 1995, linocut

9. Kewpie Dolls, 1996, linocut

Sloppy sketch

I was feeling in a rotten sloppy mood last night. Other then the face, this is mostly scribbles. It felt very good to sketch this. I think I'll go post it at Poisoned Peas. Have a beautiful day!

Daisy fairy

Hi everyone,
I have a new image to share. It's called, "Daisy fairy". I'm going to play with her this weekend and see what I can come up with. Have a wonderful weekend, friends. xoxo

Tracey

Berlin Retrospective 1: The Filmmuseum Berlin

Before my recent Berlin sojourn (in November 2011) becomes naught but a distant memory - at least until the next visit - here is the first of a short series of selected highlights. I’m starting with this fabulous museum, as it has helped rekindle my interest in silent cinema, which in turn appears to be infiltrating some of my current work.

Part of the Filmhaus, which also includes a film school and the Cinematheque-like Arsenal cinemas, Filmmuseum Berlin provides an immersive, hugely entertaining and exceptionally instructive journey through the history of German Cinema.  I felt very much like Lewis Carroll’s Alice, particularly when walking the Caligari-like path that snakes through its dizzying mirrored multi-screened entrance hall - although for film buffs, Wonderland and Looking Glass World combined have nothing on this place.

From Berlin-born Marlene Dietrich’s estate the museum has inherited a vast holding that includes photographs, letters, items of personal clothing and, most notably, costumes from her films. These are regularly rotated. The installation view immediately following includes photographs of Dietrich and her mentor Josef von Sternberg, along with the top hat and other accessories and artifacts from her first Hollywood film Morocco (1930, dir. Josef von Sternberg). Pictured second below is the costume Dietrich wore as dance hall girl Frenchie in the comedy western Destry Rides Again (1939, dir. George Marshall). Cast completely against type, her droll, earthy performance (opposite James Stewart) is considered to be responsible for bailing out her sinking film career.

The exhibits that focused on German silent film and early talkies were especially captivating. These included posters, costumes, stills, film clips, and superbly crafted scale models of film sets, including (first and second directly below) The Cabinet of Doctor Caligari (1919, dir. Robert Wiene) and The Blue Angel (1930, dir. Josef von Sternberg). Among the costumes was a touchingly evocative facsimile of the doorman’s coat worn by Emil Jannings in the silent classic The Last Laugh (1924, dir. F. W. Murnau). But best of all were a series of film clips of silent movie actress Asta Nielsen, whose acting range (unlike that of the far better known Dietrich) appeared to be limitless.  I knew little of her work, and have the Filmmuseum Berlin to thank for introducing me to it.

Our lengthy visit to this extraordinary place ended in the bar on the ground floor, named for legendary director Billy Wilder, whose own dazzling career began in Berlin. We drank a toast to him.

Get Hippity with Ippity challenge #13

Good morning,
This is my project for the GHWI challenge #13. I used My Mind's Eye new Valenentine set. The Ippity set is Sweet on You. Play along with us for your chance to win your choice of Ippity rubber stamp sets. Our theme is HEARTS.

Have a great weekend!

Tracey

Tricking the eye at the Art Gallery of Ballarat

Vorticist 2, 2004, Acrylic and oil on linen, 122 x 91 cm (installation view)

Purchased with funds from the Colin Hicks Caldwell Bequest, 2005

After quite a long hiatus, Vorticist 2 is again on view at the Art Gallery of Ballarat. (For part of that time it was on tour with the 2008 survey exhibition Deborah Klein - Out of the Past 1995-2007). This time around it has been placed in an entirely different context, as part of an exhibition focusing on Photorealist and Trompe l’oeil works from the gallery’s permanent collection.

Although figurative, Vorticist 2 is not based on a specific source, photographic or otherwise. The work is principally an invention, so it’s intriguing to see it placed in this company. But then recurrently my pictures of anonymous women are also classified erroneously as portraits, despite the fact that I refer to them collectively as Non-Portraits. Then again, I’ve always maintained that my work remains open to individual interpretation…

Two paintings by my partner Shane Jones, which unquestionably fit the Trompe l’oeil category, are also included in the exhibition.

Late, but here it is!!!!! Blog candy winner...

Our lucky winner is #29 (Random.org) Kim of Kim Sherrod Studios!!!!!!!!!!!!!
 Please contact me (Tracey) at traceydawnn@msn.com with your address so I can get you your prize!
Happy, happy Sunday!

Pair of Jacks donkey large acrylic painting by Texas Collaborative Painters Canvas by Canvas

Pair of Jacks Sold

Ask a Texas rancher what animal is a natural guardian for his herds and he’ll tell you it’s a donkey!  Here, two such sentries, Jack and Jenny, pose for one of our artist on a cattle ranch in Crockett, TX.   Because of a donkey’s loud braying, exceptional hearing, and expert back kicks, he provides safety for the herd from predators such as coyotes, wild dogs, and even snakes.  

PAIR OF JACKS was produced by six different Canvas by Canvas artists with acrylics on  8"  x 10" canvases.   Framed together in a sturdy custom-made wood frame, the piece measures 24 x 28 and comes with the necessary hanging hardware and a Certificate of Authenticity signed by the participating artists.

CANVAS BY CANVAS, ART FOR SALE, COMMISSIONS, ACRYLIC PAINTING, FINE ART, COLLABORATIVE ART, TEXAS ARTISTS, CONTEMPORARY FINE ART, ARTISTS OF TEXAS, FLORAL ART, AUTOMOTIVE ART, TRUCK PAINTINGS, VINTAGE TRUCK PAINTINGS, LANDSCAPE PAINTINGS, DONKEY PAINTINGS
post by CBC member Barbara Hackney

Pair of Jacks donkey large acrylic painting by Texas Collaborative Painters Canvas by Canvas

Pair of Jacks Sold

Ask a Texas rancher what animal is a natural guardian for his herds and he’ll tell you it’s a donkey!  Here, two such sentries, Jack and Jenny, pose for one of our artist on a cattle ranch in Crockett, TX.   Because of a donkey’s loud braying, exceptional hearing, and expert back kicks, he provides safety for the herd from predators such as coyotes, wild dogs, and even snakes.  

PAIR OF JACKS was produced by six different Canvas by Canvas artists with acrylics on  8"  x 10" canvases.   Framed together in a sturdy custom-made wood frame, the piece measures 24 x 28 and comes with the necessary hanging hardware and a Certificate of Authenticity signed by the participating artists.

CANVAS BY CANVAS, ART FOR SALE, COMMISSIONS, ACRYLIC PAINTING, FINE ART, COLLABORATIVE ART, TEXAS ARTISTS, CONTEMPORARY FINE ART, ARTISTS OF TEXAS, FLORAL ART, AUTOMOTIVE ART, TRUCK PAINTINGS, VINTAGE TRUCK PAINTINGS, LANDSCAPE PAINTINGS, DONKEY PAINTINGS
post by CBC member Barbara Hackney

Get Hippity with Ippity challenge #12

We have a sketch challenge this time around at Get Hippity with Ippity.

Please join us and have a chance to win your choice of Ippity stamps. :D
Tracey

A new sketch...

I hope you enjoy this. I did it during a very rough time. I think things are smoothing out now though.
Have a wonderful Monday!

Tracey

The Ghost of Artworks Past

Many moons ago, when my work was hovering uncertainly at a major crossroads, my Postgraduate Supervisor Euan Heng was both encouraging and perceptive. At this stage the new ideas were still mainly in my head; he also cautioned me that if I didn’t bring off what would be a radical change of direction, "Old work can come back to haunt you". For one who frequently suffers the torments of hell when an old work is exhumed, his warning hit home. But I knew I’d come as far as I could with the current imagery. I believed in my new ideas and change was inevitable, no matter what misgivings I might also have.

In fact what eventuated, namely the Pirate Jenny Prints suite of linocuts (1987) became a significant turning point, setting me on the path that, aside from the odd detour (and inevitable dead end) I tread with varying degrees of assurance to this day. I’m still rather proud of them.

 1 Pirate Jenny at Luna Park, 1987

 2 Pirate Jenny and Mack the Knife, 1987

3 Pirate Jenny in a Kimono, 1987

Admittedly there are other instances when I don’t feel like crawling under the covers when the Ghost of Artworks Past pays an unsolicited call. But occasionally I’m confronted with some abomination that in some cases would have been better off being humanely destroyed.  I see nothing but glaring imperfections and think how much better the work would be had I made it today.

When I became a Master of Arts candidate in 1995 (once again under Euan Heng’s judicious supervision) my drawing style changed markedly. It was undoubtedly directed by my thesis, namely women in Film Noir and the Woman’s Picture. By mid 1996 the work had become less mannered and stylized as I gradually moved away from previous influences, including German Expressionism. As a result, it is mainly (although not exclusively) the pre-Film Noir and some early works from the series that have, for me at least, ‘dated’ and which have caused me the most grief. But I think it’s also fair to say that rather than existing solely as eternal testaments to my ineptitude, a few of these works have their good points, whether it’s the ideas behind them, or even isolated areas of technical competence.

Above left: 4 The Letter, 1995
Above right: 5 Mildred Pierce on St. Kilda Pier, 1995

A selection of my old pictures, including several from that vexed pre-1996 period, now grace the walls of the house at Ballarat, thus creating some sorely needed space in our storage area in Melbourne. Some deserved to once again see the light of day far more than others, and these were hung soon after we moved in. But those I felt more ambivalent about remained stacked against a wall for nearly a year.  We finally hung them over the Christmas break. Several are in my studio. We are gradually learning to coexist and I realize that I might actually be able to learn something from them. It's starting to feel like it could be a positive place from which to begin a new year and a new body of work.

 6 Studio view, January 2012

7 Studio view 2, January 2012

Pictured above (from top):

1 Pirate Jenny at Luna Park, 1987, linocut, 61.5 x 45.5 cm

2 Pirate Jenny and Mack the Knife, 1987, linocut, 61.5 x 45.5 cm

3 Pirate Jenny in a Kimono, 1987, linocut 61.5 x 46 cm
Pirate Jenny is a character in The Threepenny Opera, by Kurt Weill (music) and Bertolt Brecht (book and lyrics). Ostensibly set in London, its spiritual home was Berlin, where it premiered in 1928. I transplanted its original location to scruffy, pre-gentrified St. Kilda in Melbourne, where I was then living and working. The Pirate Jenny Prints were published by Port Jackson Press, Melbourne and subsequently toured nationally. Euan Heng wrote the introduction to the catalogue that accompanied the tour.

4 and 5 (see below)

6 Studio view, Ballarat, January 2012
Pictures from left:

Untitled, (c 1994) oil pastel, 76 x 56 cm
Unlike most of my work, this image is not connected to a thematically linked series.  This sad but spirited wallflower was inspired by a poignant group of photographs from the 1950s, taken at a high school dance when American film legend James Dean paid a return visit to the small town where he was raised.

Mildred Pierce on St. Kilda Pier*, 1995, oil on canvas, 61 x 51 cm
The Letter, 1995, oil on canvas, 61 x 51 cm
These are linked to the Film Noir series of the mid 90s. They are two of the few surviving paintings from that period. As the series progressed, I found that the nocturnal world of film noir was best served by the linocut medium. In fact both images were subsequently developed into linocuts. They were included, along with the linocuts, in my second solo exhibition at Australian Galleries, Melbourne, in 1996. (*For more on Mildred Pierce, see Blog Post February 12, 2011.)

The Red Dress and the White Dress, 1992, oil pastel, 74.5 x 54.5 cm
This drawing takes its points of departure from two of Dorothy Parker’s poems. It was originally part of a 1992 solo exhibition, my first at Australian Galleries in Melbourne. The exhibition focused on the lives and work of writers Dorothy Parker, Zelda Fitzgerald and Virginia Woolf. The series was also exhibited at Solander Gallery in Canberra.

7 Studio View 2, January 2012
Pictures from left:

Snake Charmer, 1996, linocut, 36 x 37.5 cm
Fairgrounds and circuses often feature in Film Noir. This is one work I’ve always had a certain fondness for.

Night Drivers, 1996, oil pastel, 55 x 75 cm
The danger inherent when anyone gets behind of the wheel of a car was exploited regularly in Film Noir. When researching this work, I derived particular inspiration from the superb Nicholas Ray film In a Lonely Place (1950) and the Bette Davis camp classic Beyond the Forest (dir. King Vidor, 1949, in which she utters the celebrated line, long beloved by Davis impersonators, "What a Dump!") This drawing was transposed into a linocut, which in my opinion worked much better.  Both versions also debuted at Australian Galleries, Melbourne in 1996.