An Interview with JonOne (Part 1)
“I felt like I was an outcast in the spectacle of this big city, and the only way of escaping was to paint.”
“I felt like I was an outcast in the spectacle of this big city, and the only way of escaping was to paint.”
The paintings that still smelled of fresh oil stick were $1,200 or maybe just an even grand. And Dad and I were in that group of New Yorker insiders, with money to spend, yet none of us, nobodyā¦ bought one.
The ravages of good times were catching up with Richard.
Warhol died. Basquiat died. Haring died. Hambleton fell from the ivory tower. The party was over.
He didnāt sign his name. He left a trail of inspired silhouettes in his footsteps for a signature and indeed we called him āShadow Manā
Working at the edge of painting, photography, music and film over the course of five decades, Jamie Nares has profoundly explored the relationships between memory, time, movement and thought.
This week, we had the honor of hosting three master musicians.
“This is about healing. I think ultimately great painting is about healing. Whether it’s yourself or the viewer ā and it’s really important to note that a painting doesn’t exist unless it’s got eyes in front of it.”
If you look at my work, for the most part, the works are rather large in scale and they’re also very tactical. They’re tough, they’re heavy, and they’re physical paintings. So I always found it kind of a nice juxtaposition when I would go to Los Angeles and see friends and artists out there and shows where it became about light and space.
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