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THE DAILY DICK, SEPTEMBER 2, 2013

This was my first drawing in my ongoing “Daily Penis” project, executed on August 26, 2012. I started on the first pages of my inherited American Express Date Book that were relatively clean of calendrical crap. (a few days later, I reconsidered, and went back to draw on the earlier pages). This is a quick, loose pen and ink (and ink wash) drawing. It is taken from a color photograph, probably published in “Mandate Magazine” or “Advocate Men”back in ’84-’86, the 3 year period when I was newly released from my first relationship and had money to spend on frivolities like newsstand gay porn rags.

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THE DAILY DICK

THE DAILY DICK

      This is a first installment in a
daily blog (to be published daily going forward).

I started doing the work
last year around this time, late August 2012. My dear departed spouse, John
Callahan, http://www.ageofconsentrap.com/asked if I wanted his 2013 American Express Date Book. (He was still
alive at this point.) I accepted his kind offer. It occurred to me that it
would be a low-pressure way to do artistic play—I would be working on really
crappy paper already printed with clanedrical (is there such a word?) crap.
This would free me of worry about doing good art, and I could cut loose.

It was actually reminiscent
of my first one man show, at The One Way ( a leather bar in Silver Lake that
has since gone defunct after losing its liquor license toward the end of my
show’s run) in the summer/fall of 1989. That show was entitled “Recycled
Erotica”. All the art was drawn on the back (or front) of found Xerox copies,
or painted on grocery bags I disassembled and gesso’ed on one side for this
purpose.

This new project served the
same artistic purpose, except the new art would receive even less exposure than
“Recycled Erotica”. I was working in such a way as to make reproduction or
scanning difficult so as not to be tempted to do precisely what I’m doing now:
posting it on my blog. I simply couldn’t deal with it: I had too much going on
in my life, not the least of which was my spouse’s impending death from
metastasized prostate cancer.

Anyway, John died on
February 17 and I had my stroke on April 2. My beloved boyfriend, Richard R.
moved in with me upon my release from the hospital on May 18. The last 3 months
have been all about getting my life and my health (and my
drawing/painting/writing ability) back. Only now, on the eve of my September 2nd
resumption of paying work, do I feel the need/ability to start posting this
rather extensive archive of work. I’ve no doubt I’ll be kicking myself as I
start trying to reproduce scan… but what can you do?

This
is the cover of the volume. The black paper cut-out penis is glued down with
Elmer’s Glue. Last Saturday,when I took it off the shelf to show it to friends
(Joe Flazh! And Sid Lanier, of the now defunct Flazh! Alley Gallery, in San
Pedro), I found the penis was becoming unglued (“It’s hard to keep a good dick
down”, Sid quipped), I revisited the adhesion, this time (over) using Nuetral
PH Adhesive, by LineCo.

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Oroboros

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This
is painting is called “Oroboros”. It is my belated birthday present to my
fiance’, Richard. It was inspired by a dream he had in late 2012, of a fantasy
being sucking his own dick conflated with the archetype of the snake eating its
own tail and the Infinity symbol. He told me his dream while we tabled together
at BentCon 3 at the Marriott Hotel in Burbank, California. I did a number of
preliminary sketches as he sat next to me, looking over my shoulder, so to
speak, until we arrived at a design he liked.

The
next stage was cleaning up the drawing until, again, we were both satisfied. I
know I had reached this stage by Xmas ’12, because I recall showing the drawing
at that stage to various guests at that year’s annual Xmas Eve party.

I
scanned the tight drawing into my computer, cleaning it up even more, and
coming up with several different color schemes. Richard chose his favorite.

Now
it was time to do the finished painting. I got the canvas, laid down the
background colors. I wanted it to be black yet translucent, with lots of depth
and subtlety. Richard loved it, and I prepared to paint the figure,
transferring the finished drawing to the prepared canvas.

However,
it was just at this stage that my spouse of 27(?) years, John Callahan, slipped
into a coma and died on Sunday, February 17. I put the painting on hold as I
dealt with John’s death and its aftermath, planning his Memorial, dealing with
his estate, etc.John Callahan Death Announcement;Feb 27 2013

And
then, I had my stroke on April 2nd. I My Near-Death Experience (May 20, 2013)spent 18 days in ICU, 3 weeks in Glendale
Memorial Hospital’s rehabilitation clinic/wing, was released on May 18th. I had
to deal with Richard merging his household with mine, using my work area in the
garage as his overflow storage area and the guest room for my visiting
relatives as they served as caregiver (see links to blogs).

Finally,
Richard moved his shit out of my work area, and my last, lingering family
caregiver bid adieu.  I then had to
undertake the daunting project of cleaning up the garage, moving thing around,
throwing stuff away, so that I could return my workspace into being a space I
could actually work in. I was (and am) still recovering from the April 2nd
stroke and the debilitation of my left arm, and my lack of stamina.

Having
accomplished all of that, I could then, once again, start work on completing
“Oroboros”. I didn’t know how it would go. Even before the stroke, painting has
always been a fraught experience for me. I do it so seldom that I have to
re-teach myself each time I start a new painting. Add to that the uncertainty over
whether or not I still had, or could recover, all my marbles after the stroke.

And
here you have it; the finished work, all signed and everything. It now hangs
over the bed I share with Richard, a symbol of many things, not the least of
which is my on-going recovery.

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Man Tits

I was interested in arcing lines here. I’ll probably take another pass at this drawing, using a brush, making the lines thick, almost geometric. Sort of like Peter Arno, or Frank Stella

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By the Ocean 2

I drew this over 6 months ago, but it fits with yesterday’s drawing. The guy is nude sunbathing at surf’s edge. What happens next? You may never know.

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Before and After


This is a lesson in knowing when to stop. I really liked my rough pencil sketch; I like the finished ink drawing less so. My big mistake was giving the guy dark colored cut-offs instead of light colored cut-offs. What was I thinking? I know, I know; given the capabilities of Photoshop I could easily make the cut-offs light, thereby giving us a nice view of the man’s low hanging fruit. Maybe later.

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Instanbull 2

This is a play on words; the model is Turkish, hence “Istanbul”, the capital of Turkey, and he has a big dick, hence the “bull”. And its “Istanbull 2”, because I did another “Istanbull” about 10 years ago. You can see it in “True Adult Fantasy” #2, available on my flamingartists.com website.

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Depth of Field

This sketch is all about exaggerated depth. I’m reminded of one of my all time favorite Alex Toth comics, ” Crime and Punishment”, issue #66, published in 1954. He was tasked with drawing a 3D comic, but the publisher was too cheap to do the process, so he had to fake it by exaggerating the depth in every panel. The entire issue is reprinted in “The Comics Journal” issue 262, published in 2004.

Unlike master Toth, I didn’t spot any blacks in this drawing.

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Orange and Green

This is another Prismacolor drawing, done while on the phone with my Jungian Analyst. I was forced to use the color pencils that were available (i.e, those that were sharp enough to draw with) as I was unable to get up and find a pencil sharpener. Also, I tried to erase and found both of my Pink Pearl erasers were really crappy. They were new. I think the manufacturer has changed the eraser’s formulation recently; it seems to smear the pencil on the paper instead of erasing it. This unwanted effect can be seen on the top right shoulder and the top right abdominal. The drawing also demonstrates the lack of patience I have in comparison to my early 20’s.

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PrismaColor Drawings of My Youth #10; Mother Trucker ’11

Actually, I did this drawing on December 4th, 2011, while tabling at the second annual Bent Con, at the Bonaventure Hotel, in Downtown Los Angeles, California. I had been scanning and prepping the drawings from my early 80’s sketchbooks for the upcoming Bruno Gmuender anthology: “Fur”, and thought I’d try my hand at doing the same kind of drawing 30 years on. This is what I came up with.

I just don’t have the patience anymore. I cheated, going in with a gray Tombo brush pen and punching up the shadows. I worked quicker, simpler. I dunno. I’ve been working, my whole adult career as an artist, to be simpler. I really admire simplicity. But something has been lost as well. Those early drawings really have a luminous glow to them that I can’t seem to match these days. Oh well…