Tag Archives: music

Mark Ryden

Mark Ryden: painter, author, filmmaker

Mark Ryden (born January 20, 1963) is an American painter, part of the Lowbrow (or Pop Surrealist) art movement. He was dubbed “the god-father of pop surrealism” by Interview Magazine. Artnet named Ryden and his wife, the painter Marion Peck, the King and Queen of Pop Surrealism and one of the ten most important art couples in Los Angeles. Ryden’s aesthetic is developed from subtle amalgams of many sources, from Ingres, David and other French classicists to Little Golden Books. Ryden also draws his inspiration from anything that will evoke mystery: old toys, anatomical models, stuffed animals, skeletons and religious ephemera found in flea markets.

Ryden was born in Medford, Oregon on January 20, 1963, but was raised in Southern California, where his father made a living painting, restoring and customizing cars. He has two sisters and two brothers, one a fellow artist named Keyth Ryden, who works under the name KRK. Mark Ryden graduated from the Art Center College of Design in Pasadena in 1987.

Ryden in 1983

From 1988 to 1998 Ryden made his living as a commercial artist. During this period he created numerous album covers including Michael Jackson’s Dangerous, the 4 Non Blondes’ Bigger, Better, Faster, More!, the Red Hot Chili Peppers’ One Hot Minute, Jack Off Jill’s Clear Hearts Grey Flowers, and Aerosmith’s Love in an Elevator.

Album art for Michael Jackson’s “Dangerous”
Artwork for 4 Non Blondes’ “Bigger Better Faster More!”
Artwork for The Red Hot Chili Peppers' "One Hot Minute"
Artwork for The Red Hot Chili Peppers’ “One Hot Minute”
Artwork for Jack Off Jill's "Clear Hearts Grey Flowers"
Artwork for Jack Off Jill’s “Clear Hearts Grey Flowers”

Also during this time, Ryden created book covers including Stephen King’s novels Desperation and The Regulators.

Coverart for Stephen King’s “Desperation”
Coverart for Stephen King’s “The Regulators”

He continued working as a commercial artist until his work was taken up by Robert Williams, a former member of the Zap Comix collective, who in 1994 put it on the cover of Juxtapoz, a magazine devoted to “lowbrow art”.

Coverart for Juxtapoz magazine, #17 1998

Ryden’s solo debut show entitled The Meat Show was in Pasadena, California in 1998. Meat is a reoccurring theme in his work. He observes the disconnect in our contemporary culture between meat we use for food and the living, breathing creature it comes from. “I suppose it is this contradiction that brings me to return to meat in my art.” According to Ryden, meat is the physical substance that makes all of us alive and through which we exist in this reality. All of us are wearing our bodies, which are like a garment of meat.

“Incarnation,” by Mark Ryden, 2009

A midcareer retrospective, Wondertoonel, which refers to a cabinet of curiosities or “Wunderkammer” (“wonder-room”), was co-organized in 2004 by the Frye Museum in Seattle and the Pasadena Museum of California Art. It was the best attended exhibition since the Frye Art Museum opened in 1952, and also broke attendance records in Pasadena. Debra Byrne, curator at the Frye at the time of Ryden’s exhibition, placed Ryden’s work in the camp of the carnivalesque—a strain of visual culture rooted in such works as Hieronymous Bosch’s Garden of Earthly Delights. According to the Russian author and literary critic Mikhail Bakhtin (1895–1975), there are three forms of carnivalesque art — the ritualized spectacle, the comic composition and various genres of billingsgate (foul language) — all three of which are interwoven in Ryden’s work.


In 2007, The Tree Show opened at the Michael Kohn Gallery, Los Angeles. In this exhibition Ryden explores the modern human experience of nature. Ryden explains, “Some people look at these massive trees and feel a sort of spiritual awe looking at them, and then other people just want to cut them up and sell them, they only see a commodity”. Ryden has created limited editions of his art to raise money for the Sierra Club and Nature Conservancy.

In 2009, Ryden’s exhibition The Snow Yak Show was shown at the Tomio Koyama Gallery in Tokyo. In this exhibition his compositions were more serene and suggestive of solitude, peacefulness and introspection.


In 2010, The Gay 90’s: Old Tyme Art Show debuted at Paul Kasmin Gallery in New York. The central theme of the show referenced the idealism and sentimentalism of the 1890s while addressing the role of kitsch and nostalgia in our current culture. Here Ryden explores the line between attraction and repulsion to kitsch. According to The New York Times, “Ryden’s pictures hint at the psychic stuff that pullulates beneath the sentimental, nostalgic and naïve surface of modern kitsch.”


Also in 2010, Ryden and Peck collaborated on a fantastical project entitled Sweet Wishes, a short, stop-motion animated film, and is in this author’s opinion, one of the most wonderful things ever created.

Sweet Wishes tells the tale of Dolly, Baby and Bear and what happens when they are granted a wish from a magical fairy. That same year, the pair released the story in a book of photographs in a children’s picture-book format, in a style very much in keeping with that of both artists.

mark ryden sweet wishes
On May 13, 2014, Ryden released an album entitled The Gay Nineties Old Tyme Music: Daisy Bell, featuring Tyler the Creator, “Weird Al” Yankovic, Katy Perry, Stan Ridgway of Wall Of Voodoo, Danny Elfman, Mark Mothersbaugh of Devo, Nick Cave, scarling., Kirk Hammett of Metallica, and Everlast, all giving a different rendition of the same song, “Daisy Bell (Bicycle Built for Two).” The proceeds from the signed and limited edition record benefited Little Kids Rock, a nonprofit that supports musical education in disadvantaged elementary schools. The video interpretations of the songs below, were delightfully created by Ryden. (See more at Ryden’s YouTube account here.)


From December 10th, 2016, through January 14, 2017, the Dorothy Circus Gallery in Rome, Italy, hosted the exhibition Mysterium Coniunctionis, a collaborative exhibition presenting very rare and limited edition prints from Ryden and his wife, Marion Peck. “Mysterium Coniunctionis” consisted of more than 20 artworks, mainly artist proofs, a collection that showcases Peck and Ryden’s peculiar and intriguing combinations. Their inviting compositions are executed with extremely complex, detailed artwork, that make visible a vision of society in which menace and comfort are inseparably interwoven.

See also:


Edited from:


Mark Ryden

Digital collage portrait by TMLipp
Created for The Artist Birthday Series
January 20, 2017
Click image for full resolution

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Click the button below to let us know about typos, incorrect information, broken links, erroneous attribution,
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Jean-Michel Basquiat

Jean-Michel Basquiat: painter

Jean-Michel Basquiat (December 22, 1960 – August 12, 1988) was an American artist. He first achieved notoriety as part of SAMO©, an informal graffiti duo who wrote enigmatic epigrams in the cultural hotbed of the Lower East Side of Manhattan during the late 1970s where the hip hop, post-punk, and street art movements had coalesced. By the 1980s, he was exhibiting his Neo-Expressionist paintings in galleries and museums internationally. The instant fame and wealth took a toll on the sensitive young man, who was to succumb to the weight of his success and pass away tragically, at the age of 27.

1986, New York, New York, USA - Image by © William Coupon/CORBIS
1986, New York, New York, USA – Image by © William Coupon/CORBIS

Basquiat’s work focused on “suggestive dichotomies”, such as wealth versus poverty, integration versus segregation, and inner versus outer experience, He appropriated poetry, drawing, and painting, and married text and image, abstraction, figuration, and historical information mixed with contemporary critique.


Basquiat used social commentary in his paintings as a “springboard to deeper truths about the individual”, as well as attacks on power structures and systems of racism, while his poetics were acutely political and direct in their criticism of colonialism and support for class struggle.


Jean-Michel Basquiat was born in Brooklyn, New York, on December 22, 1960, shortly after the death of his elder brother, Max. He was the second of four children of Matilda Andrades (July 28, 1934 – November 17, 2008) and Gérard Basquiat (1930 – July 7, 2013). He had two younger sisters: Lisane, born in 1964, and Jeanine, born in 1967. His father, Gérard Basquiat, was born in Port-au-Prince, Haiti, and his mother, Matilde Basquiat, who was of Puerto Rican descent, was born in Brooklyn, New York. Matilde instilled a love for art in her young son by taking him to art museums in Manhattan and enrolling him as a junior member of the Brooklyn Museum of Art.

Basquiat was a precocious child who learned how to read and write by age four and was a gifted artist. His teachers, such as artist Jose Machado, noticed his artistic abilities, and his mother encouraged her son’s artistic talent. By the age of 11, Basquiat was fully fluent in French, Spanish and English. In 1967, Basquiat started attending Saint Ann’s, an arts-oriented exclusive private school. He drew with Marc Prozzo, a friend from St. Ann’s; they together created a children’s book, written by Basquiat and illustrated by Prozzo. Basquiat became an avid reader of Spanish, French, and English texts and a more than competent athlete, competing in track events.


In September 1968, when Basquiat was about eight, he was hit by a car while playing in the street. His arm was broken and he suffered several internal injuries, and he eventually underwent a splenectomy. While he was recuperating from his injuries, his mother brought him the Gray’s Anatomy book to keep him occupied. This book would prove to be influential in his future artistic outlook. His parents separated that year and he and his sisters were raised by their father.

Jean-Michel with his sisters, circa 1967
Jean-Michel with his father, c. 1985

The family resided in Boerum Hill, Brooklyn, for five years, then moved to San Juan, Puerto Rico in 1974. After two years, they returned to New York City.
When he was 13, his mother was committed to a mental institution and thereafter spent time in and out of institutions. At 15, Basquiat ran away from home. He slept on park benches in Tompkins Square Park, and was arrested and returned to the care of his father within a week.

Jean-Michel’s father, Gérard Basquiat, years after his son’s death

Basquiat dropped out of Edward R. Murrow High School in the tenth grade and then attended City-As-School, an alternative high school in Manhattan home to many artistic students who failed at conventional schooling. His father banished him from the household for dropping out of high school and Basquiat stayed with friends in Brooklyn. He supported himself by selling T-shirts and homemade post cards.

One of Basquiat’s postcards

In 1976, Basquiat and friend Al Diaz began spray painting graffiti on buildings in Lower Manhattan, working under the pseudonym SAMO. The designs featured inscribed messages such as “Plush safe he think.. SAMO” and “SAMO as an escape clause”.

At the age of 17, in 1978, Basquiat worked for the Unique Clothing Warehouse, in their art department, at 718 Broadway in NoHo and at night he became “SAMO” painting his original graffiti art on neighborhood buildings. Unique’s founder Harvey Russack discovered Basquiat painting a building one night, they became friends, and he offered him a day job. On December 11, 1978, The Village Voice published an article about the graffiti. When Basquiat and Diaz ended their friendship, The SAMO project ended with the epitaph “SAMO IS DEAD”, inscribed on the walls of SoHo buildings in 1979.

SAMO (for “same old shit”) marked the witty sayings of a precocious and worldly teenage mind that, even at that early juncture, saw the world in shades of gray, fearlessly juxtaposing corporate commodity structures with the social milieu he wished to enter: the predominantly white art world. ”— Franklin Sirmans, In the Cipher: Basquiat and Hip Hop Culture


In 1979, the 18 year old Basquiat appeared on the live public-access television cable TV show TV Party hosted by Glenn O’Brien, and the two started a friendship. Basquiat made regular appearances on the show over the next few years.

That same year, Basquiat formed the noise rock band Test Pattern – which was later renamed Gray – which played at Arleen Schloss’s open space, “Wednesdays at A’s”, where in October 1979 Basquiat showed, among others, his SAMO color Xerox work. The band produced one album on Plush Safe Records, entitled “Shades Of.” Gray also consisted of Shannon Dawson, Michael Holman, Nick Taylor, Wayne Clifford and Vincent Gallo, and the band performed at nightclubs such as Max’s Kansas City, CBGB, Hurrah and the Mudd Club.

In 1980, Basquiat starred in O’Brien’s independent film Downtown 81, originally titled New York Beat.  Downtown 81 featured some of Gray’s recordings on its soundtrack.

That same year, Basquiat met Andy Warhol at a restaurant. Basquiat presented to Warhol samples of his work, and Warhol was stunned by Basquiat’s genius and allure. The two artists later collaborated.

Andy Warhol and Jean-Michel Basquiat

Basquiat also appeared in the 1981 Blondie music video “Rapture,” in a role originally intended for Grandmaster Flash, as a nightclub disc jockey. (You can spot the young artist in the video at timestamp 1:50.)

Before his career as a painter began, he produced punk-inspired postcards for sale on the street, and became known for the political–poetical graffiti under the name of SAMO. On one occasion Basquiat painted his girlfriend’s dress with the words “Little Shit Brown”. He would often draw on random objects and surfaces, including other people’s property. The conjunction of various media is an integral element of Basquiat’s art. His paintings are typically covered with text and codes of all kinds: words, letters, numerals, pictograms, logos, map symbols, diagrams and more.


The early 1980s were Basquiat’s breakthrough years. In June 1980, Basquiat participated in The Times Square Show, a multi-artist exhibition sponsored by Collaborative Projects Incorporated (Colab) and Fashion Moda. Other artists in the show included David Hammons, Jenny Holzer, Lee Quiñones, Kenny Scharf and Kiki Smith. The show was held in a vacant building at 41st Street and Seventh Avenue, New York.

In September of the same year, Basquiat joined the Annina Nosei gallery and worked in a basement below the gallery toward his first one-man show, which took place in March 1981 with great success. Quickly thereafter, he was showing regularly alongside other Neo-expressionist artists including Julian Schnabel, David Salle, Francesco Clemente and Enzo Cucchi. He was represented in Los Angeles by the Gagosian gallery and throughout Europe by Bruno Bischofberger.

“Untitled,” 1981

In March 1982 he worked in Modena, Italy, and from November, Basquiat worked from the ground-floor display and studio space Larry Gagosian had built below his Venice, California, home and commenced a series of paintings for a 1983 show, his second at Gagosian Gallery, then in West Hollywood. He brought along his girlfriend, then unknown aspiring singer Madonna.

Gallerist and star-maker, Larry Gagosian in 2012

During this time he took considerable interest in the work that Robert Rauschenberg was producing at Gemini G.E.L. in West Hollywood, visiting him on several occasions and finding inspiration in the accomplishments of the painter.

Robert Rauschenberg’s “Mona Lisa,” 1982

In 1983, Basquiat produced a 12″ rap single featuring hip-hop artists Rammellzee and K-Rob. Billed as Rammellzee vs. K-Rob, the single contained two versions of the same track: “Beat Bop” on side one with vocals and “Beat Bop” on side two as an instrumental. The single was pressed in limited quantities on the one-off Tartown Record Company label. The single’s cover featured Basquiat’s artwork, making the pressing highly desirable among both record and art collectors.

Cover of “Beat Bop,” by Jean-Michel Basquiat

At the suggestion of Swiss dealer Bruno Bischofberger, Warhol and Basquiat worked on a series of collaborative paintings between 1983 and 1985. In the case of Olympic Rings (1985), Warhol made several variations of the Olympic five-ring symbol, rendered in the original primary colors. Basquiat responded to the abstract, stylized logos with his oppositional graffiti style. The collaborative show is still touring the world today, though smaller, as numerous works have been sold or are in museums.


Basquiat was known for often painting in expensive Armani suits and would even appear in public in the same paint-splattered clothes.


Basquiat’s canon revolves around single heroic figures: athletes, prophets, warriors, cops, musicians, kings and the artist himself. In these images the head is often a central focus, topped by crowns, hats, and halos. In this way the intellect is emphasized, lifted up to notice, privileged over the body and the physicality of these figures (i.e. black men) commonly represent in the world.” — Kellie Jones, Lost in Translation: Jean-Michel in the (Re)Mix


Fred Hoffman hypothesizes that underlying Basquiat’s sense of himself as an artist was his “innate capacity to function as something like an oracle, distilling his perceptions of the outside world down to their essence and, in turn, projecting them outward through his creative acts.” Additionally, continuing his activities as a graffiti artist, Basquiat often incorporated words into his paintings.


A middle period from late 1982 to 1985 featured multi-panel paintings and individual canvases with exposed stretcher bars, the surface dense with writing, collage and imagery. The years 1984–85 were also the main period of the Basquiat–Warhol collaborations, even if, in general, they were not very well received by the critics.

“Tenor,” 1985

A major reference source used by Basquiat throughout his career was the book Gray’s Anatomy, which his mother had given him while he was in the hospital at age seven. It remained influential in his depictions of internal human anatomy, and in its mixture of image and text. Other major sources were Henry Dreyfuss’ Symbol Sourcebook, Leonardo da Vinci’s notebooks, and Brentjes’ African Rock Art.


Basquiat doodled often and some of his later pieces exhibited this; they were often colored pencil on paper with a loose, spontaneous, and dirty style much like his paintings. His work across all mediums displays a childlike fascination with the process of creating.


Like a DJ, Basquiat adeptly reworked Neo-expressionism’s clichéd language of gesture, freedom, and angst and redirected Pop art’s strategy of appropriation to produce a body of work that at times celebrated black culture and history but also revealed its complexity and contradictions.” — Lydia Lee


According to Andrea Frohne, Basquiat’s 1983 painting Untitled (History of the Black People) “reclaims Egyptians as African and subverts the concept of ancient Egypt as the cradle of Western Civilization”. At the center of the painting, Basquiat depicts an Egyptian boat being guided down the Nile River by Osiris, the Egyptian god of the earth and vegetation. On the right panel of the painting appear the words “Esclave, Slave, Esclave”. Two letters of the word “Nile” are crossed out and Frohne suggests that, “The letters that are wiped out and scribbled over perhaps reflect the acts of historians who have conveniently forgotten that Egyptians were black and blacks were enslaved.” On the left panel of the painting Basquiat has illustrated two Nubian-style masks. The Nubians historically were darker in skin color, and were considered to be slaves by the Egyptian people. Throughout the rest of the painting, images of the Atlantic slave trade are juxtaposed with images of the Egyptian slave trade centuries before. The sickle in the center panel is a direct reference to the slave trade in the United States, and slave labor under the plantation system. The word “salt” that appears on the right panel of the work refers to the Atlantic slave trade, as salt was another important commodity traded at that time.


Another of Basquiat’s pieces, Irony of Negro Policeman (1981), is intended to illustrate how African-Americans have been controlled by a predominantly Caucasian society. Basquiat sought to portray how complicit African-Americans have become with the “institutionalized forms of whiteness and corrupt white regimes of power” years after the Jim Crow era had ended. Basquiat found the concept of a “Negro policeman” utterly ironic. It would seem that this policeman should sympathize with his black friends, family, and ancestors, yet instead he was there to enforce the rules designed by “white society.” The Negro policeman had “black skin but wore a white mask”. In the painting, Basquiat depicted the policeman as large in order to suggest an “excessive and totalizing power”, but made the policeman’s body fragmented and broken. The hat that frames the head of the policeman resembles a cage, and represents how constrained the independent perceptions of African-Americans were at the time, and how constrained the policeman’s own perceptions were within white society. Basquiat drew upon his Haitian heritage by painting a hat that resembles the top hat associated with the gede family of loa, who embody the powers of death in Vodou.


However, Kellie Jones, in her essay Lost in Translation: Jean-Michel in the (Re)Mix, posits that Basquiat’s “mischievous, complex, and neologistic side, with regard to the fashioning of modernity and the influence and effluence of black culture” are often elided by critics and viewers, and thus “lost in translation.”

“Self Portrait,” 1983

The art historian Olivier Berggruen situates in Basquiat’s anatomical screen prints, titled Anatomy, an assertion of vulnerability, one which “creates an aesthetic of the body as damaged, scarred, fragmented, incomplete, or torn apart, once the organic whole has disappeared. Paradoxically, it is the very act of creating these representations that conjures a positive corporeal valence between the artist and his sense of self or identity.”


By 1986, Basquiat had left the Annina Nosei gallery, and was showing at the Mary Boone gallery in SoHo. On February 10, 1985, he appeared on the cover of The New York Times Magazine in a feature titled “New Art, New Money: The Marketing of an American Artist”. He was a successful artist in this period, but his growing heroin addiction began to interfere with his personal relationships.


When Andy Warhol died on February 22, 1987, Basquiat became increasingly isolated, and his heroin addiction and depression grew more severe. He made a sincere attempt at sobriety taking an extended trip to Maui, Hawaii, and for a while, it seemed he had beaten the demons. His health began to return, and those close to him say that he seemed happy.

Poloroid of Basquiat during his stay in Hawaii (photo credit: Paige Powell)

Unfortunately this was not to be the case for long, and the brilliant artist died on August 12, 1988, of a heroin overdose at his art studio at 57 Great Jones Street in Manhattan’s NoHo neighborhood. He was 27 years old. A plaque dedicating his life was placed on July 13, 2016 by the Greenwich Village Society for Historic Preservation.

From Basquiat’s last exhibition
1988

Jean-Michel Basquiat was interred in Brooklyn’s Green-Wood Cemetery, where Jeffrey Deitch made a speech at the graveside. Among those speaking at Basquiat’s memorial held at Saint Peter’s Church on November 3, 1988, were Ingrid Sischy who, as the editor of Artforum in the 1980s, got to know the artist well and commissioned a number of articles that introduced his work to the wider world. Suzanne Mallouk recited sections of A. R. Penck’s Poem for Basquiat and Fab 5 Freddy read a poem by Langston Hughes. The 300 guests included the musicians John Lurie and Arto Lindsay; the artist Keith Haring; the poet David Shapiro; Glenn O’Brien, a writer; Fab 5 Freddy and members of Basquiat’s band Gray. In memory of the late artist, Keith Haring created Pile of Crowns for Jean-Michel Basquiat (1988).

Created shortly before his own death, Basquiat created “Man Riding With Death,” in 1988
Haring’s tribute “Pile Of Crowns”

Major exhibitions of Basquiat’s work have included Jean-Michel Basquiat: Paintings 1981–1984 at the Fruitmarket Gallery, Edinburgh (1984), which traveled to the Institute of Contemporary Arts, London, and Museum Boijmans Van Beuningen, Rotterdam, in 1985); the Kestnergesellschaft, Hannover (1987, 1989). The first retrospective to be held of the his work was the Jean-Michel Basquiat exhibition at the Whitney Museum of American Art from October 1992 to February 1993. It subsequently traveled to the Menil Collection, Houston; the Des Moines Art Center, Iowa; and the Montgomery Museum of Fine Arts, Alabama, from 1993 to 1994. The catalog for this exhibition, edited by Richard Marshall and including several essays of differing styles, was a groundbreaking piece of scholarship into Basquiat’s work and still is a major source. Another exhibition, Basquiat, was mounted by the Brooklyn Museum, New York, in 2005, and traveled to the Museum of Contemporary Art, Los Angeles, and the Museum of Fine Arts, Houston. From October 2006 to January 2007, the first Basquiat exhibition in Puerto Rico took place at the Museo de Arte de Puerto Rico (MAPR), produced by ARTPREMIUM, Corinne Timsit and Eric Bonici. Brooklyn Museum exhibited Basquiat: The Unknown Notebooks in April–August 2015.

In May 2016, Basquiat’s Untitled had a record breaking sale at Christie’s selling at auction for $57,285,000.

“Untitled,” sold in 2016 for $57,285,000.00

 


Edited from:

https://en.wikipedia.org/wiki/Jean-Michel_Basquiat


Jean-Michel Basquiat

Digital collage portrait by TMLipp
Created for The Artist Birthday Series
December 22, 2016
(click image for full resolution)


TML Arts aims for accuracy in content and functionality in posts.
Click the button below to let us know about typos, incorrect information, broken links, erroneous attribution,
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Tarkan

Tarkan: singer

Tarkan Tevetoğlu (b. 17 October 1972), popularly known simply as Tarkan, is a Turkish pop singer. He was born in West Germany and raised in Turkey. He has released several platinum-selling albums during his career, with an estimated 29 million albums and singles sold. He also produces music through his company HITT Music, which he established in February 1997.

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Tarkan was born in Alzey, West Germany, to Ali and Neşe Tevetoğlu. The name “Tarkan” is said to originate from an ancient Turkic king or title, meaning “bold and strong.” It wasn’t until he was well into his career in 2009, the the public discovered that “Tarkan” was, in fact, his middle name and his first name was actually “Hüsamettin,” which means “sword of faith.” His parents were part of the generation of Turkish immigrants who came to West Germany during that country’s economic boom in the 1960’s.

Baby Tarkan, c. 1976
Baby Tarkan, c. 1976

Although Tarkan was raised in Alzey, Germany, until the age of 13, his father Ali decided to move the family back to Turkey in 1986. His father died of a heart attack in 1995 at the age of 49. His mother later married an architect, Seyhun Kahraman. Tarkan keeps close ties with his extended family in both Turkey and Germany.

Tarkan with his mother, 2013
Tarkan with his mother, Neşe, 2013

When the Tevetoğlu family relocated to Turkey, Tarkan began to study music in high school in Karamürsel, before being accepted at the Üsküdar Musiki Cemiyeti Academy in Istanbul. In 1990 he began to prepare for University entrance exams, but had a difficult time as the family was struggling financially. He contributed as much as he could, working various low-paying jobs, including a stint as a wedding singer.

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Music legend has it that just as he was preparing to return to Germany, he met Mehmet Söğütoğlu, chairman of the record company İstanbul Plak. Produced by Söğütoğlu, his debut album Yine Sensiz (Without You Again) sold 750 thousand copies after its release in December 1992. Wrote one critic: “It happened maybe for the first time in the world of [Turkish] music, that “slang” words were used in songs and the brave young man began to draw attention as much with his songs as with his green eyes.

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One of few European singers who have managed to span chart success over three continents without singing in English, he is also noted for his live stage performances. Tarkan’s effect on Turkey has been compared by the Washington Post to that of Elvis Presley in the US around 1957, and Atlantic Records co-founder Ahmet Ertegün described him as one of the best live performers he had ever seen. He has also been listed by Rhapsody as a key artist in the history of European pop music, with his signature song “Şımarık” as a keystone track that moved the genre forward.

Other than his native Turkish, he speaks English fluently. Although he still understands German, he speaks little, primarily because he has been living in the U.S. and Turkey for the last 20 years.

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On April 29, 2016 Tarkan married his long-time girlfriend, Pınar Dilek. The couple met in 2011 after a concert in Germany. Dilek has been a fan of Tarkan long before they got acquainted. For years there were tabloid rumors that he was gay, but Tarkan has always denied it, saying once, “”Men spread these rumors about my homosexuality. Definitely. It’s because I destroy [the traditional image] they try to show off as ‘manhood’.”

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Video Singles




 

Full playlist for his 2016 album Ahde Vefa
(available on Amazon and iTunes!):


Digital collage portrait by TMLipp
Created for The Artist Birthday Series:

Tarkan, October 17, 2016
(click image for full resolution)

tarkan-feat


Edited from:

https://en.wikipedia.org/wiki/Tarkan_(singer)


TML Arts aims for accuracy in content and functionality in posts.
Click the button below to let us know about typos, incorrect information, broken links, erroneous attribution,
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Special thanks to: Daily Artfixx, On This Day, WikipediaFind-A-Grave, A&E Bio, The Smithsonian American Art Museum Renwick Gallery, Famous Birthdays, Encyclopedia Brittanica, and all the art history buffs that keep the internet full of wonderful information and images. 


John Cage

John Cage: composer, theorist, philosopher

Hi there. We are on vacation from September 5th, until September 19, 2016. But the Artist Birthday Series continues! Albeit, much shorter. :)

Thank you so much for your continued interest in this project. Our regular Daily Artist Birthday installments will continue when we return from our magical, mystery excursion. 

Wishing all the best of everything beautiful, delicious, and good-smelling to you. 

~ TMLipp

 

John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, music theorist, writer, philosopher, and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential American composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage’s romantic partner for most of their lives.

Want to know more about John Cage? This short introduction was edited from the full article here: https://en.wikipedia.org/wiki/John_Cage


TML Arts aims for accuracy in content and functionality in posts. Click the button below to let us know about typos, incorrect information, broken links, erroneous attribution, or additional relative information.

See something? Say something.


Special thanks to: Daily Artfixx, On This Day, Wikipedia, Find-A-Grave, A&E Bio, The Smithsonian American Art Museum Renwick Gallery, Famous Birthdays, Encyclopedia Brittanica, and all the art history buffs that keep the internet full of wonderful information and images.


Roger Dean

Roger Dean: artist, designer, publisher

Roger Dean (born 31 August 1944), is an English artist, designer, and publisher. He is best known for his work on posters and album covers for musicians, which he began painting in the late 1960s. The artists for whom he did the most art are English rock bands Yes and Asia. The covers often feature exotic, fantasy landscapes. His work has sold more than sixty million copies worldwide.

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Dean was born William Roger Dean, in Ashford, Kent, but he spent most of his childhood moving around the world with his British Army father. The family returned to England in 1959 where he was educated at Ashford Grammar School. He later earned a National Diploma of Design from the Canterbury College of Art (now the University for the Creative Arts). In 1968, he graduated from the Royal College of Art in London where he was a student of Professor David Pye. His Master’s thesis was on ‘The psychology of the built environment’. He has lived in East Sussex since 1972.

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Beginning in the field of design, he preferred to distinguish between design (the reworking of existing models), and invention (making something new). One of his inventions was the “sea urchin chair.” It was a foam chair, which, though appearing spherical, would conform to the sitter, who could obtain a seated position of varying angles. Later, he was asked to design a “landscape” of similar seating for a club belonging to Ronnie Scott. His “retreat pod” chair design was featured in the film A Clockwork Orange.

Dean's "Sea Urchin Chair"
Dean’s “Sea Urchin Chair”
"Retreat Pod Chair," in the film, "A Clockwork Orange"
“Retreat Pod Chair,” in the film, “A Clockwork Orange”

His first album cover work was in 1968 for the band Gun. He also did the artwork for Atomic Rooster’s album In Hearing of…. This album cover hinted at the inimitable style for which he would later become famous. In the same year Dean produced the cover for the first album by the African/Caribbean band Osibisa, which featured a hybrid insect/elephant. This was much closer to Dean’s work as we came to know it and it attracted widespread attention.

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Later that year, he began the partnership with the progressive rock bands Yes (and Asia) for which he is best known. His first design for Yes was for their album Fragile.

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Dean designed the now-classic Yes “bubble” logo, which first appeared on the album Close to the Edge, and continued to create covers for the band until as recently as 2014 (Heaven & Earth).

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Yes guitarist Steve Howe said, “There is a pretty tight bond between our sound and Roger’s art.” In addition to their album covers, Dean also contributed to his brother Martyn Dean’s stage set designs for the band.

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Known primarily for the dreamy, other-worldly scenes he has created for Yes, Budgie, Uriah Heep, Gentle Giant and other bands, Dean has said, “I don’t really think of myself as a fantasy artist but as a landscape painter.” Characteristic landscapes show graceful stone arches (as shown in Arches Mist) or floating islands, while many paintings show organic appearing habitats (such as shown in the cover for Anderson Bruford Wakeman Howe).

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“Arches Mist”

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Though he primarily works with watercolor paints, many of his paintings make use of multiple media, including gouache, ink, enamel, crayon and collage. In addition to his cover paintings, Dean is respected for his calligraphic work, designing logos and titles to go with his paintings.

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Beginning in 1985 with the software company Psygnosis, Dean has been responsible for the cover artwork for several video games, including Shadow of the Beast, Tetris Worlds as well as a redesign of the Tetris logo.

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(From left to right) Roger Dean, and game designers Martin Edmunson, James Hawkins, Matt Birch
(From left to right) Roger Dean, and game designers Martin Edmunson, James Hawkins, Matt Birch

Three compilations of his work have been published, including Views (1975) (the success of which led him to form publishing house Paper Tiger Books), Magnetic Storm (with his brother Martyn, 1984), and Dragon’s Dream (2008). In addition, his architectural and furniture work have been exhibited in the Victoria and Albert Museum and in the Royal Academy.

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His gorgeous architectural design work includes a house for the new millennium: artistically beautiful, environmentally kind, but cheap and quick to build. The living spaces created by Dean are the result of years of research that has given him a rare insight into how the human psyche relates to interior spaces. The curvilinear shapes don’t just look good, they feel good. The way Dean uses space is not only practical but is also economical, making relatively small rooms feel larger.

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In 2013, Dean filed a legal action in U.S. District Court New York claiming that film director James Cameron was inspired by 14 of his original images in the making the 2009 blockbuster film Avatar. Dean sought damages of $50m. Although the filmmakers admitted in court to being influenced by the artist’s work, Dean’s case was unfortunately dismissed in 2014. (Info and images from the cleverly titled article, Judge Says “No” to Roger Dean’s Avatar Lawsuit: Should He Have Said “Yes” Instead?)

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Dean continues to design, create, and exhibit his work. To keep up with everything this artist does, or if you would like to purchase a Roger Dean original (beware of the many forgeries available on the net), be sure to visit his website at http://www.rogerdean.com/ .


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Architecture


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