Thursday, November 22, 2007


Public Service Announcement: If you are trying to reach me, send me an email until I find my cellphone.

Despite this annoyance, there is much to give thanks for. The excellence, on virtually every level, of my daughters comes to mind first. The following paintings also pop to the front of the mind in no particular order.

Big Dick I (Hundred Million)--for putting me on the Wall Street map

The Annotated Murdoch--because "news is sacred." Plus, I love that blue wedge above his left eye.

Girl With The Pearl Earring (2003)--because although it wasn't the first, it was, in many ways.

Elena in the Morning--because sometimes its enough to just be beautiful.

Michele A.--because she, too, is a beauty. Plus, one can draw a direct line between Michelle A. and Cheerleader With Banana (Fallen Angel) I. Which is either a good thing or not, but something for which I, at least, am giving thanks.

Big Maria I (Plane Too Many)--because she may be my most famous painting (toss-up with Big Rupert).

Old Bobby Lee--because I love how his nose is gray. One wonders what the thinking was behind that. Plus, as many have noted, he is the single best example of the obscured box technique.

The Ecstasy of St. Theresa--because I don't think this painting gets enough credit. And for uniquely embodying the primary idea behind the Catholic Saints series--the depiction of the fine line between spiritual and sexual ecstasy--and for, by doing so, sparking the Cheerleader With Banana series (which is about the fine line between success and failure).

Close, But No Cigar--because it's good to know you can still crank out a real painting every once in a while.

And, of course Chuck--because not only was his painting as much, if not more, given how early it came in the process, of an "aha" moment as Close, But No Cigar, but also because he's cooking Thanksgiving dinner.

Remind me to tell you about my creamed spinach.


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