FISHERMAN'S WHARF WITH DILONE AND DYLAN

AMERICAN PASTORALE (FEATURING CHARLES BUKOWSKI & SEAGULLS)

DILONE & e.e. cummings IN MY OLD STUDIO IN WASHINGTON HEIGHTS (NYC)

LAUGHING ALL THE TIME (ROLLING STONE COVER FEATURING ZOË KRAVITZ)

STEVE PERRY STILL BELIEVES (ROLLING STONE COVER FEATURING ZOË KRAVITZ)

VISIONS OF JOHANNA

EX MACHINA

CENTRAL PARK HEAT WAVE

LARRY’S CENTRAL PARK RAPTOR

[AN] AFTERTHOUGHT

THAT VOICE AGAIN

A SCENE FROM AN IMAGINARY MOVIE

TOMORROW NEVER KNOWS

NEO GOTH GIRL

THE RELUCTANT ROADIE

WALKING THE PLANK IN THE AGE OF MIXED MARTIAL ARTS

FIRE ON THE MOUNTAIN

CONVERSATIONS IN A CAFE

KENTUCKY DERBY DAYS

A PALE RIDER

A SITUATION IN THE GAMBLING ROOM

THE GOOD OLD DAYS ARE OFTEN MISREMEMBERED

FLIGHT

“A man sets out to draw the world. As the years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that that patient labyrinth of lines traces the lineaments of his own face.”

-Jorge Luis Borges

“…Then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.”

-James Joyce, ULYSSES

“But he did not sigh for what is not. The clue to all his utterance lies in the sheer appreciation of the instant moment, life surging itself into utterance at its very well-head. Eternity is only an abstraction from the actual present.”

-D.H. Lawrence on Walt Whitman

Walt Whitman

so much depends

upon

a red wheel

barrow

glazed with rain

water

beside the white

chickens.

-William Carlos Williams

“Finish each day and be done with it. You have done what you could. Some blunders and absurdities no doubt crept in. Forget them as soon as you can. Tomorrow is a new day. You shall begin it serenely and with too high a spirit to be encumbered with your old nonsense.”

-R. W. Emerson

“God bless…God damn.”

-James Thurber

“Well, I hadn’t thought of my work in terms of Social Problems…I always think more about it in terms of Human Beings.”

-Carson McCullers

“In my stories a reader will find that the devil accomplishes a good deal of groundwork that seems to be necessary before grace is effective.”

-Flannery O'Connor

"People are strange: They are constantly angered by trivial things, but on a major matter like totally wasting their lives, they hardly seem to notice."

-Charles Bukowski

"The effort to educate the uneducable is hopeless. Schools for adults soon become kindergartens for adults. The pupils are quite unable to take in the education proper to their years. The gogues thus have to provide them with amusement in kindergartens. The hope is that they will somehow learn to think as an accidental by-product of playing, but that hope is vain."

-H.L. Mencken

“So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark — that place where the wave finally broke and rolled back.”

Hunter S. Thompson, FEAR AND LOATHING IN LAS VEGAS (A SAVAGE JOURNEY TO THE HEART OF THE AMERICAN DREAM)

“The past is never dead. It’s not even past.”

-William Faulkner

“Up the road, in his shack, the old man was sleeping again. He was still sleeping on his face and the boy was sitting by him watching him. The old man was dreaming about lions.”

-Ernest Hemingway

“Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter – tomorrow we will run faster, stretch out our arms farther…And one fine morning —
“So we beat on, boats against the current, borne back ceaselessly into the past.”

-F. Scott Fitzgerald, THE GREAT GATSBY

"Don't part with your illusions. When they are gone you may still exist, but you have ceased to live."

-Mark Twain

ASLEEP AT THE WHEEL

MIND OVER MATTER

THE PERSISTENCE OF DINER COFFEE

THE YOUNG MAN’S GAME

11 JUST WANTED TO PLAY LIKE THE OTHER KIDS

LATCH-KEY KIDS STILL RIDE SKATEBOARDS

INSECURITIES

HOUSE HUNTER

OPINION: GROCERY STORES

INDECISION IN THE AGE OF INFINITE OPTIONS

BEACH COMBING

MONDAY MORNING’S VALLEY OF THE SHADOW

HIS MOMMA ALWAYS WARNED HIM ABOUT STARING AT THE SUN…

OBJECTIVITY CAN BE DIFFICULT WHEN YOU WORK ALONE

POWER LUNCH, WASHINGTON HEIGHTS

LEASH, DOG, MAN

THE END OF SUMMER

SOMETIMES IT’S LIKE THIS

MANA CONTEMPORARY (January 9th 2019)

MANA CONTEMPORARY (January 16th 2019)

MANA CONTEMPORARY (January 23rd 2019)

THE SCHOOL OF VISUAL ARTS (February 5th 2019)

MANA CONTEMPORARY (January 31st 2019)

MANA CONTEMPORARY (February 13th 2019)

THE SCHOOL OF VISUAL ARTS (February 19th 2019)

THE SCHOOL OF VISUAL ARTS (February 26th 2019)

THE SCHOOL OF VISUAL ARTS (March 5th 2019)

THE SCHOOL OF VISUAL ARTS (March 12th 2019)

THE SCHOOL OF VISUAL ARTS (March 19th 2019)

Self-Portrait with Beret and Turned-Up Collar (1659)

Self Portrait with Plumed Beret (1629)

Self Portrait as a Young Man (1628)

Self Portrait, Laughing (c1630)

Self Portrait with Gorget (1629)

Self Portrait with Two Circles (1665 - 1669)

Self Portrait (1642)

Self Portrait with Beret (c1665)

Self Portrait (1660)

Self Portrait at the Age of 63 (1669)

BLURRED LINES AT 30TH STREET STATION (April 26th 2018)

BLINDERS (February 8th 2018)

AFTER RUSH HOUR ON THE A TRAIN PLATFORM AT PENN STATION (March 18th 2018)

HE WAS WEARING A HOODIE WINDBREAKER ON A SUNNY DAY WHILE I DREW MY OWN REFLECTION (March 14th 2018)

IT LOOKED LIKE HE WAS GIVING ME THE FINGER BUT HE ONLY HAD THREE FINGERS (March 16th 2018)

THE PHANTOM GAME ON THE A TRAIN (March 31st 2018)

ON THE WAY TO A FOREBODING BACKYARD BARBECUE IN BROOKLYN ON THE NO. 3 TRAIN (August 18th 2018)

DRAWING A GUY DRAWING OTHER PEOPLE ON THE A TRAIN (March 1st 2018)

AN UNRELATED COUPLE ON THE A TRAIN (August 16th 2018)

WAITING FOR HER TRAIN AT PENN STATION (May 2nd 2018)

HEAD IN THE CLOUDS (May 2nd 2018)

SKYSCAPE AT DOUBLE DITCH NEAR BISMARCK, ND (May 21st 2018)

IN-FLIGHT ELECTRIC KOOL-AID AND A JACK-AND-COKE (May 23rd 2018)

HOMEWARD BOUND, I WISH I WAS (July 14th 2018)

UPPER PENINSULA CLOUDSCAPE (July 11th 2018)

LAKE SUPERIOR SHORE (July 10th 2018)

TANGLE (July 8th 2018)

DEEP IN THE WEEDS DEEP IN THE NORTH COUNTRY (July 9th 2018)

THE ABSENCE OF FISHERMEN (July 12th 2018)

UP (July 13th 2018)

THE VIEW FROM FORT TRYON PARK (June 29th 2018)

LAUGHING ALL THE TIME (30th Street Station/Philadelphia, February 22nd 2018)

REPLACEABLE (30th Street Station, August 23rd 2018)

MARCO POLO (September 13th 2018)

BLURRED LINES IN REVERSE (September 6th 2018)

STILL LIFE WITH FLY (Dirty Frank's, May 1st 2018)

Over the past several years, when a project permits, I've been experimenting quite a bit with different combinations of mediums (acrylic paint, collages elements, pen and ink, etc). The drawn pen and ink line tends to be the thread that runs through all of the work.

Malibu magazine e-mailed with an assignment that required a double-page illustration. The article was about Los Angeles-style traffic congestion creeping up the Pacific Coast Highway. Because of the magazine's relatively small budget, I decided to take the opportunity to do something more experimental in terms of final execution. As with most jobs, I began with a couple of pages of very rough thumbnail sketches.

The coast along the PCH is popular with surfers. My first idea had a surfer catching a wave of traffic headed north, out of Los Angeles.

Here a beach-bum halts the traffic with casual, super-human strength.

Same idea as the previous sketch, only this one's in stereo.

A more organic wave of traffic being less-successfully held back.

A pedestrian up the proverbial tree.

This sketch seemed to satisfy the requirements of the assignment pretty well, but I usually do one more sketch when I reach this point.

This little character was from a sketchbook. I plopped him down on the page, standing in-between a wall of traffic and the Pacific Coast Highway. Makes no real sense, conceptually, but maybe that's why I like it.

And then, because the project's budget was quite small, I offered to hand-letter the article's headline and credits, too(!).

Hand-lettering anything usually takes a ton of passes on the copy.

To be clear, the title of this article was "NO WAY OUT" (these pages weren't some sort of cry for help as my wife feared they might be when she came into the studio and saw all of these pages strewn across the floor)...

The part of the iceberg below the surface that nobody ever sees...

In this piece I tried something new...

...I scanned the simple drawings of the cars and trucks, added some simple color in Photoshop, printed them out on archival paper and collaged them into the final hybrid drawing/painting.

The finished traditional/digital hybrid on my studio easel.

As it appeared in Malibu magazine with the hand-lettering incorporated.

For portrait commissions I generally don’t do preparatory sketches anymore, usually just sitting down and banging out four or five ink drawings of the subject and submitting them all, letting the art director and editor choose which one they’ll ultimately run.

This approach began with a job I did for the New Republic in 2009. I was commissioned to do a portrait of the economist Nouriel Roubini.

I sat down at my desk with a sketchbook to begin doing some “sketches” and, as often happens, there was a looseness and spontaneity to the “sketches” that I was pretty sure I wouldn’t be able to replicate in a properly “finished” piece of art.

At that time in my studio, I had several large acrylic paintings on paper that had been abandoned. I gessoed over one of these paintings and tore the sheet into small pieces after the gesso had dried.

I liked the way the colors from the under-painting crept through the thin layer of gesso.

I scanned one of these pieces of the abandoned painting along with my favorite sketchbook drawing of Roubini and combined the two using Photoshop.

The resulting image ended up being an early example of my using the computer to stitch together traditionally created elements, and a preparatory sketch being presented as Finished Art.

The Chronicle of Higher Education is a favorite client of mine. As an educator as well as an illustrator, perhaps the articles they send through often hit close to home. In this particular piece, called "How Academe Breeds Resentment," the author considers paranoia, envy and over-thinking amongst academic scholars.

The brief summary the art director sent through highlighted some general themes: Paranoia, envy, academic over-analysis, etc. My initial ideas – looking over one's shoulder, hunkered down on a desk full of research – were Ok as starting points but were lacking any sort of graphic anchor.

Above the desktop computer in my studio is a framed sketchbook drawing I made of a banjo player and a young woman in a red striped dress at the Bedford Avenue subway stop on the L Train in Brooklyn.

I made the drawing based on a dozen cellphone photos I'd taken on the subway platform in Brooklyn. I liked the banjo player's set-up (kick-drum and high-hat strapped to Chuck Taylor sneakers, two harmonicas snapped into a holder that was designed for a single harp). It wasn't until I got home and began "drawing on location" from my desktop computer that I realized the woman in the red striped dress had been taking pictures of me taking pictures of the banjo player.

I cast the banjo player from Brooklyn as my paranoid academic.

Digitally, I cropped the banjo player's face out of the subway drawing, printed it out, trimmed it and taped it onto a few pages of a sketchbook, fleshing out some ideas. Here, he looks over his paranoid shoulder at what other scholars might be doing/who might be plagiarizing his brilliant ideas.

Here our scholar cranes his neck to see what the next scholar down the way might be up to.

This idea is the clunky one of the three, conceptually, but I may revisit it someday: A large magnifying glass balanced on the desktop of our scholar, but pushing our image of him further into the distance.

The Chronicle liked the first idea best so I transferred the sketch to some beefier paper and inked it with a steel brush and various other pen nibs (watercolor added as an accent).

Originally designed as a vignetted spot, the drawing ran as a full-page illustration, online as well as in print, always a treat to see.

Another piece for the Chronicle of Higher Education and another very interesting article, which I’ve come to expect from this client. Titled “Ovid Had No Trigger Warning,” the author suggests that most meaningful works of literature are in fact “post traumatic,” using Ovid’s work and exile from Rome as a jumping-off point.

In 8 AD Ovid was banished from Rome by Emperor Augustus for mysterious reasons. The only clue we have is in Ovid’s own words: Carmen et error (“a poem and a mistake”).

Isolation can be terrible. Isolation can be the most important thing in the world.

What if Ovid could look down from the mountains of the past and see a student blindfolded for their own protection? What would he say? “You are not alone,” the author of the article would seem to suggest. “We can cross this dark valley together.”

As an artist I often feel torn between loose drawings and tight drawings, Gestural versus Deliberate. The marriage of the two is a constant carrot on the end of a constant stick…

When this job came through from the Chronicle of Higher Education I was reading King Lear. I’d just gotten to the part in the play where the Earl of Gloster’s eyes are dug out of his head by the Duke of Cornwall. I wondered if that vision ought to be shielded from students in a classroom.

Is it the duty of an “educator” to so censor the content of a text for a student?

This is Jacques-Louis David’s The Death of Socrates. It’s in the permanent collection of the Metropolitan Museum of Art here in New York City.

I’d made a drawing of this painting in a sketchbook I was working on at the time. In the Chronicle of Higher Ed article the author speaks of Plato’s teacher, and his choice to drink hemlock and die rather than confess to breaking laws he did not recognize. Though not mentioned by name, we all know that Plato’s teacher was Socrates, and that this “traumatic” event effectively fueled Plato’s life of the mind.

I sent the sketchbook drawing to the art director in Washington D.C., suggesting that this might be a perfect pairing for his article on “trigger warnings,” David’s The Death of Socrates in my sketchbook.

In January 2016 North Dakota State University's football team won their fifth consecutive national championship. This was a very big deal. And while I'm not an alumni of the school, I've worked with the University's magazine for nearly 20 years and was thrilled to be asked to contribute something to this landmark issue of their school's semi-annual publication.

My initial conversations with the magazine's editor suggested that we work on the idea of community, ie, behind the team's success was a vast and enthusiastic support system. One possible take on this idea was a football player assuming a sort of Heisman Trophy stance, with more than one arm cradling the game ball. 

Carson Wentz, NDSU's quarterback, was selected by the Philadelphia Eagles with the number two pick in the 2016 NFL draft.

Carson Wentz and I both graduated from Century High School in Bismarck, North Dakota.

I often find that working in small, pocket-sized sketchbooks when working up initial thumbnail sketches is useful. This idea involved a cheering crowd of loyal Bison fans riding on their school's mascot's back.

Perhaps something as quiet as a still-life, featuring a folded hooded sweatshirt with the school's logo on the chest, could be a poignant conceptual solution.

This idea had a smiling fan in the middle of a like-minded crowd, but the concept didn't work without a little hint of color...

With these thumbnails I applied fields of color to separate pages of the small, pocket-sized sketchbook and incorporated the color into the thumbnail sketches digitally.

In the Fall of 2000 I painted a large bison for the cover of the inaugural issue of NDSU's magazine. After further discussion with the magazine's editor, we wondered if revisiting this more straight-forward approach to depicting the school's mascot might not suit the current issue really well.

And so I began doodling bison, focusing solely on form and shape and not paying much attention to concept at all.

The simple addition of the confetti (in the school's colors) gave the image a graphic, celebratory feel. But we weren't quite there yet in terms of finding the right bison for this job.

So I tried a couple more. (This one felt too goofy.)

This one was nearly there, but the back leg came across as too spindly and the hump on the bison's back was a bit too pronounced.

Hump and legs were getting there. One more pass...

The legs looked good, but the hump needed to be tamed still further.

We did it! Sketch approved/time to enlarge, transfer to watercolor paper and draw.

Sometimes, finished sketches are so resolved that there is little variation from the sketch to the finished drawing. In terms of execution for the finished drawing here, I've used a steel brush pen made by Speedball (out of Philadelphia!). It's a pen nib of sorts, but wasn't built to make drawings like this. That's why I like to use it: It gives the lines character, sort of like a singer's vibrato, or the shape of a note blown through a wind instrument.

And because I wanted more control in terms of placement of the confetti, I made that with watercolor on separate sheets of paper which were then combined with the original pen and ink drawing in Photoshop. 

Best of luck to the North Dakota State University Bison next season!