A Gay-Oriented Collection of Art Works, Literary Quotes, Songs, Films, Cubs, Otters, and Other Guys. Please be aware thet there is mature content on this blog. Information and links to sources will be provided unless unknown. Enjoy your visit.
Nicholas Scarpinato is a twenty-four year old fine art photographer based in Los Angeles. He works digitally, with drawing or painting involved in the finished image. He was a Canon Project Imagination Winner.
Julia Lillard, “Spirit Animal”, Date Unknown, Collage
Julia Lillard is a self-taught Oklahoma artist who, for the most part, creates surreal digital and paper collage. Her first love was art photography, but in her 50s, that developed into a love for collage and abstract paintings. She has a range of styles that are somewhat eclectic, and her imagination is triggered by any image, color or situation that catches her attention. Julia lets something outside of herself take over and she usually has no idea what the end result will be.
Maynard Dixon, “Lone Bull”, 1918, Oil on Canvas, Private Collection
Maynard Dixon’s stay at Cut Bank Creek, on the Blackfeet Reservation in Montana, ended in early October, 1917 when snow and biting cold arrived forcing him to return to San Francisco. Energized by his experience, he started to produce work drawn from his experiences in the Glacier Park and on the Blackfeet Reservation. For several years afterwards, some of Dixon’s most notable Native American- themed paintings emerged from his Montgomery Street studio, among them “Lone Bull”.
In this 1918 painting, Dixon has captured the image of a young Blackfeet man astride his horse, dressed in only a breechcloth and leggings, relaxed but keeping a close watch over the camp’s horse herd. Beyond them the vast Montana prairie rolls toward the horizon. The Montana stay unleashed a period of creative accomplishments for Dixon as he shifted from a quasi-impressionist approach to a post-impressionist style defined by strong brush strokes, bold color patterns, and careful design.
Like a number of other artists of his generation, Dixon embraced the idea that the Native American stood as a counterpoint to the destructive forces unleashed by the rise of an industrial-oriented America. For Dixon, the Indian lived and moved and had their being drawn from an older, better way of knowledge and behavior. The theme in “Lone Bull” was replicated in 1920 when Dixon painted “Pony Boy”, one of his most iconic images.
Charles Simonds majored in art at the University of California at Berkeley and after graduation, taught college art in New Jersey. There he discovered an area of clay pits that had once provided the raw material for some of Manhattan’s older buildings. He literally immersed himself in the subject, burying himself naked in a pool of wet clay to get a feel for the material. Back in New York, where he still lives, he experimented with clay and sand, learning to capture the look of the American Southwest or an African savanna.
Simonds’s sculptures are mostly enchanting miniature architecture and landscapes with small chambers and towers; some are abstract organic shapes, bulbous or phallic in form. Indoors, his sculptures are protected from immediate destruction, but permanence is not what his work is about.
The enduring value of his work – the art of it – comes across in the stories he tells and in the stories others tell about him. Like Robert Smithson, a friend and artist he respected, he embraces entropy. He builds his objects (at least his early work) for destruction, and he takes no measures to insure their survival. He said in the 1980s, “Their effect is enhanced by their destruction and disappearance.”
Casey Cripe, Map Paintings from his “One is All is One” Series
San Francisco based artist Casey Cripe describes himself as an “artist-scientist”, and his multimedia works as maps of the infinite landscapes of self, life, and the universe. Cripe composes many of his works, which vary from the surreal to increasingly abstract, based on Renaissance diagrams and architectural drawings.
“These maps that I craft are not only to chart and guide my own path, but also the paths of all fellow humans. We as individuals and as a species are lost and blind, blundering through the historical landscape, hurtling through a dark cosmos of known and unknown existential threats, desperate for any and all navigational aids that might light the way toward our destination.” -Casey Cripe
Jacob Joaquin is a computer graphic artist who does creative coding. He is the CEO and co-founder of Loom Academics in Fresno, California, designing cohesive interdisciplinary curriculum for tech literacy.
Eric Petersen was born in Santa Monica, California. His style is influenced by instructional graphics, video games and the look of vintage comics of the 1940s. He is interested in the combination of a purely functional illustration style with an emotional scene. Since he began illustrating in 2012, his work has been seen in Juxtapoz, Hi-Fructose, New York Times, Fortune, and The Guardian.
Kenton Nelson was born and raised in Los Angeles, CA. He attended Long Beach State University and Otis Parsons Art Institute, and for the last 35 years has had his art studio in Pasadena, CA. He has been on the faculty of the Otis Parsons Art Institute in Los Angeles and the Academy of Art in San Francisco.
Nelson traces his interest in painting back to his great uncle, Roberto Montenegro, renowned Mexican muralist and Modernist. The style of Nelson’s paintings have their origins in American Scene painting, Regionalism, and the work of the WPA artists of the 1930′s.
Nelson paints figures, landscape, and architecture bathed in light. The objective in his paintings is to idealize the ordinary with the intention of engagement, using the iconic symbols and styles of his lifetime in a theatrical style to make leading suggestions.
According to Bathsheba Grossman, a Santa Cruz, California artist, her art is about life in three dimensions: working with symmetry and balance, getting from the origin to infinity, and always finding beauty in geometry.
Using a background in mathematics and computer programming, Grossman creates intricate and complicated designs. 3D printing in bronze and stainless steel is her main medium – in many cases this is the only way her creations could be represented by an actual object. Traditional sculpture technology simply doesn’t operate on un-moldable objects.
Selling her designs through Shapeways and her site, Grossman’s pieces are widely available, as she eschews the limited editions common in tradional art-making. Croudsourcing lets Grossman pursue her dream and continue to produce these facinating pieces.
The wooden carved figures of Joe Brubaker echo sources of inspiration from Spanish colonial Santos and retablo objects to Egyptian tomb figure and Buddhist stone carvings. In recent works, Brubaker has gone beyond these early influences, crossing cultures on a broader basis. He has included forms reminiscent of ritual costumes and body decorations from indigenous peoples all over the world.
Incorporating scraps of metal and found materials, he has created a cast of characters that are at once strikingly universal and absolutely unique. For Brubaker, there is a moment when the work takes on its own personality. “I almost imagine myself as channeling some soul that’s out there and wants to come back”, he says. “It’s really an eerie moment, a Geppetto moment”.
His work is available for purchase through the Seager/Gray Gallery in Mill Valley, California.
Californian-born Tom Killion takes inspiration from 19th century Japanese prints to recreate epic engravings of American landscapes. He describes his technique, tongue-in-cheek, as “faux ukiyo-ë” to emphasize his aesthetic debt to the landscape prints of early 19th century Japan, but also to acknowledge his embrace of early 20th century European / American wood-engraving and book illustration techniques and styles as well. Among his influences are both the Japanese ukiyo-ë landscape masters Hokusai and Hiroshige, but also European and American wood-engravers such as Eric Gill and Rockwell Kent.
Killion carves his images into cherry, all-shina plywood, Amsterdam linoleum and other block materials using Japanese handtools. He prints his often elaborate, multi-colored images on handmade Japanese kozo papers using oil-based inks and a German hand-cranked proofing press.
Thomas Shields Clark, “The Cider Press”, Bronze, Golden Gate Park
Thomas Shields Clark graduated from Princeton University in 1882. He was a pupil of the Art Students League, New York, and of the École des Beaux-Arts in Paris. Later he entered the atelier of Pascal Dagnan-Bouveret, and, becoming interested in sculpture, he worked for a while under Henri Chapu. As a sculptor, he received a medal of honor in Madrid for his Cider Press.
This 1892 Bronze sculpture was originally exhibited at the Midwinter International Exposition in 1894. The Apple Cider Bronze bears some resemblance to Douglas Tilden’s Mechanics Monument located on Market street in that it bears tribute to the value of hard work. However, this purchase and contribution by DeYoung was apparently inspired by art rather than memorial, since the only cider industry of note in the San Francisco Bay Area is Martinelli’s (1868) located in Watsonville, down the peninsula.
This statue was originally a drinking fountain with a cup attached by a chain, and some say it ran with cider instead of water.
150+ MI RANGE / 300,000+ MI LIFETIME
The 2015 Zero S and Zero SR feature advanced cell chemistry and battery management systems that provide greater capacity and range. Not only does the ZF12.5 power pack enable you to go beyond 150 miles, it is also designed to last the life of the motorcycle. The result of cutting edge research and development, each cell in the power pack is individually controlled and monitored to ensure maximum health. The highly efficient onboard charger minimizes charge time and can work in parallel with Zero’s scalable off-board charging systems.
Zero Motorcycles designed the Z-Force® motor from the ground up to be compact, efficient and powerful. It provides you with exhilarating acceleration to a top speed of 102 mph as configured in the Zero SR. Capable of doing 0-60 mph in under 4 seconds, the Zero SR offers spirited riders an edge in competitive riding. Completely air-cooled, the motor is designed to provide a fantastic riding experience minus the need for any regular maintenance. When slowing down, the motor generates electricity that is channeled back into the power pack to help extend ride times. The Zero SR motor uses higher temperature magnets to ensure better performance during extended durations at higher speeds.
Showa Suspension; Bosch Anti-Lock Brake System; Pirelli Tires; LCD Dash System with Sport, Eco and Custom Riding Modes; App Synchs via Bluetooth to iPhone and Android; Carbon Fiber Belt Direct Drive (No Shifting); Instant Torque at All Speeds; Recharges Through Any Standard Outlet; Equivalent Fuel Economy 462 MPGe (City) 236 MPGe (Highway); Typical Recharge Cost $1.40