At long last, I’m offering Giclee prints of paintings I showed at the Woodstock Festival of Music and Art in 1969, as well as some later paintings. These are museum-quality high-definition prints on archival paper. I’m working out the logistics with some firms that specialize in fine art reproductions. They won’t be available till January, but if you make an offer now, I may be able to cut you a special deal. Prices will range from $100 to $500, and the prints will be professionally shipped directly to your home.
If you order in December, I will send you a certificate by email AND snail mail with the specifics of your order, including a personalized message to the recipient. These would make fabulous presents for family and friends, or for your own home.
For further information and specific details, please email me at email@example.com. Here are some of the paintings I’m offering:
SWINGING SIXTIES SKIERS
This painting was commissioned for a poster in 1968, at the height of the psychedelic era. At the time, I had a share in a group house in Sugarbush, Vermont, and those were wild and crazy times. The colors and symbols ranking the difficulty of trails were different then:
- GREEN SQUARE was for the easiest trails. For me, “easier” meant hanging out and relaxing in a bar, during or apres ski.
- YELLOW TRIANGLE meant more difficult. For me, that meant frequenting a bar, dancing to a rock and roll band.
- BLUE CIRCLE stood for most difficult–the trails that would be black diamonds today. The skier barreling down the fall line is tackling the most difficult trails. I never tackled the blue circles or black diamonds–at best, I was a cautious intermediate.
IT’S A BYRD, IT’S A PLANE, IT’S SUPER PAUL
In 1966, the year the Beatles played Shea Stadium for the second time, the musical “It’s a Bird…It’s a Plane… It’s Superman” was playing on Broadway. WMCA, my favorite AM station, held a contest asking for posters to help promote the musical. My entry evolved into this oil painting. While studying for my MFA at Columbia University, I’d become obsessed with the Beatles, and my Master’s exhibition featured enormous paintings of them.
Gary Stevens, a disc jockey for WMCA, smuggled me and my paintings up a private elevator to the penthouse floor at the Warwick Hotel where the Beatles were staying. While I waited in the foyer, he went in to see if they were available. He came back out to say “John and Paul are asleep.” It’s an everlasting regret that I didn’t say, “That’s okay, I can wake them up.”
In my painting, the Bird is represented by Roger McGuinn of the Byrds, and by a young Beatles fan (a “bird” in the British vernacular of the day) who daydreams about taking a Plane to England to meet Paul McCartney, aka Superman.
JIMI AND THE WHIRLPOOL
By 1968 Jimi Hendrix had burst upon the scene, and I’d moved down to a loft on Broome Street in the industrial district that later became known as SoHo. I switched to acrylics and my paintings became even larger. I exhibited and sold many paintings in this more abstract, psychedelic style, and this is one of the few from that era I still have in my possession. I showed this painting and the two above at the Woodstock Festival of Music and Art, where I won second prize.
I completed this painting in the fall following Woodstock. I was softening my style with spray paint and airbrush, and my palette became darker as the Sixties came to an end. At the lower left, I collaged in my actual Woodstock tickets, with the “A” standing for Artist. There was no entrance gate, and no one was there to collect tickets.
I didn’t stay to hear Jimi Hendrix at Woodstock, but I heard him at a small club in Greenwich Village that fall. I showed him photos of my paintings. He bought me a screwdriver and took my number, saying he’d like to come down and see my paintings, but alas, he never called. Why didn’t I call him? As with the Beatles, I wasn’t assertive enough to be a successful groupie.