jetiiidrawing's Profile

From: Ringwood, NJ
Joined: February 21, 2010

About jetiiidrawings:

This site is devoted to JET III small drawings and sketches exclusively

For more JET III Art please also visit...
http://www.jetiiart.com - Main JET III website on the Internet
http://www.artbreak.com/jetiiiphotography - Orig. Photography Site
http://www.artbreak.com/jetthree - New site for Paintings and Large Drawings
http:///artbreak.com/jetiii - Orig. JET III Artbreak site for Paintings and Drawings
http://www.artbreak.com/jet - New JET III Site for Photography

I am JET III and these are my initials and my registered trademark. I am modern, one of a kind, a "fine artist" in the technological age.

Here @ http://www.artbreak.com are several sites devoted to my art. There are also other sites on-line listed at the bottom of my art resume.

http://www.artbreak.com/jetiiidrawings - This site is devoted to JET III small drawings and sketches.

At http://www.artbreak.com/jetthree
and
http://www.artbreak.com/jetiii - are many larger JET III Paintings and Drawings

For JET III photography please see...

http://www.artbreak.com/jetiiiphotography
or
http://www.artbreak.com/jet

I have lived by my art and my original ideas. and this is what makes me what I am as a person, and as an artist. Each is a reflection of the other as "Art imitates Life" and "Life imitates Art.

My "Giant Progression" was formulated in 1979 and is a totally different idea than past ideas of what art should be. Each artwork is a stepping stone, or progression to the next idea, like in a process. I have also invented many other new artistic ideas, such as my "Reversible art" circa 1980-83.

My "Reversible Paintings" change and give you a choice. Try to understand, that having a truly original idea in art is almost an impossible thing to do. I have posted my varied ideas here for all to see.

You can click the blue link found on the above right hand side of my JET III home page. It is called "See More JET IIIDrawings". This link will let you see much more of my art.

Feel free to vote for your favorite artworks, but only one vote per artwork per computer can be cast. The way it works is, one vote per each computer's IP address, per artwork, so if you feel the need to vote for more than one particular artwork (more than once) you will have to do it from different computers.

I work on hundreds of artworks at one time, and some for many years. They are not posted here in any particular order, just at random, as I get to them to you, and there is no re-ordering feature on Artbreak, so to some people, it may look as if these artworks were done by a variety of different individual artists. I assure you they are all my original artworks and each is different in it's own way. I have been working on them for the past 30 years. Look at the dates listed with each artwork and see when they were done!

The artists on this site cannot change the order of their uploaded artworks. There is no feature or way to group the art either. Once the art is uploaded there is no way to change the price, but if you really want something, and have to have it, feel free to make a reasonable offer.

To look at my art in an intelligent fashion, you would have to really take your time, sit down and look carefully at the many contributing factors, like exactly when each was begun, when each piece was started next in the progression, what was part of the series I was working on at the time, when, or for how long they were worked on, when they were actually finished, and what other pieces were being worked on at the same time.

I have over 4000 artworks (so far) and only a few hundred here. I am not copying photographs, I am inventing new ways of seeing. I also take photographs, but I am using my vibrant imagination in my hand drawn art. Even my prints are all original, hand drawn, and each one is unique and different. My paintings here on Artbreak are from 1979 through today, but there are plenty more that you also haven't seen. Come back and visit from time to time and you can see my new uploads and vote on your favorites.

Any of my future artworks posts may be from the past, or may be newly minted artworks, this also makes it an interesting process. What you are seeing here are my different artistic time periods all at once (my progression) and mixed in an interesting fashion onto this site.

I was there in NYC's East Village during the 80's, participating in solo and many group art exhibitions. I have also raised a family since that time and kept the painting and drawing going in the mountains of New Jersey. I have been concentrating on the subtleties of nature in my drawings and paintings, while living in an era that's reliant on wires and megabytes and I have also fought silently over the years for environmental protection.

I have come a long way since my first New York City exhibition in 1979, or when most of my paintings were stolen after an art show one year later.

"My work is a progressive reaction to society and is an effigy to life in general. It is built on imagination, abstraction, representation, experimentation and observation. The work disregards personal style and symbolism by maintaining in endless form, color combination, transformations, manifestations, an efflorescence of artistic precedents and ideals, and a kaleidoscope of dissimilar modes of expression. It was begun in 1979 as a giant progression, the body of work has evolved into an amazing array or artistic precedents including reversible paintings, convertible sculpture, and also include hundreds of drawings done on, buses, trains and subway trains.

The idea of a progression is a modern concept where each painting is a step by step idea process elevating the artist to a higher level and broader spectrum of activities and after invention in 1979 has resulted in over four thousand works of art.

My "Reversible" paintings, an idea that I invented in drawings in 1980 and made into paintings in 1983, actually have two different ideas contained on a single artwork, however, until they are hung or suspended from the ceiling, the owner, gallery director, or curator is forced into making an artistic decision on their own, choosing which way, or side to show, and for how long. Variety and change are it's core ideal.

My convertible sculpture takes this idea one step further by increasing the possibilities of choice, and providing alternate combination. Prior to inventing the reversible work I was interested in reinventing impressionism's ideals and methodology in a modern context. I have used Abstract, Impressionistic, Expressionistic, Scenic, Pop, Dadaist, and Surrealist thinking among other influences. Over the past years, I fought for the environment and it is now ingrained in my work.

I have met many famous artists such as Larry Rivers, Roy Lichtenstein, Anselm Kiefer, Julian Schnabel, Susan Rothenberg, Keith Haring, Jean Michel Basquiat Andy Warhol among others and have discussed art with them. I met Leo Castelli, and countless other art gallery directors at openings, museums and exhibitions. Large advertisements of my art shows have been spread across noted NYC art papers, magazines and newspapers including The Village Voice, The N.Y. Gallery Guide, Say Arts, Cover Arts and the New Common Good.

In 1988 I installed window installations and a solo exhibition at one of the last East Village galleries called the Emerging Collector. They were of my golden winter weeds, rare dead migratory seabirds, an unusual drawbridge, and a curving, splotchy, waterway littered with debris. I had painted in full view of the N. Y, Airport, and Coastal Trade, literally a "Gateway to the City" outside in the “plein air” tradition, but I did my paintings in the dead of the coldest winters. With added found objects, as integral parts of the framing materials, the paintings were a strong statement to clean up our land, air and seas. These paintings and the beach scenes of the tidal flats in Brooklyn where I painted in the winters of 1987-89 were a harsh reality. The pollution and degradation intermixed with nature’s beauty and constant change eventually found their way onto the artistic endeavors produced there.

For two seasons I recycled found objects, recovered cluttering the desolate almost abandoned waterways; in an area of the national park service located on the Jamaica/Sheepshead Bay, part of the Gateway National Seashore. I removed from her twisted and convulsing shores the debris, cleaned and used as framing material for the oil paintings (that had been produced on the spot in one day) artifacts of broken glass bottles. Objects tossed aside or in the water a hundred years prior, in my ancestor’s day. The framing materials also consisted of modern wooden reminders of our rich heritage of pollution, the visual reminders of a day in the corroded seashore that once was his ancestor's backyard playground.

These paintings done in Brooklyn were shown collectively in solo Exhibitions in 1990 at the Emerging Collector Gallery, but many of the frames had to be destroyed in order to get the art home. Some of these few remaining framed artworks were again exhibited in 1997 at the Skulski Polish Foundation Gallery in Clark, New Jersey.

I have a Masters of Studio Art from NYU in 1983 where I studied under Ross Bleckner, Diane Blell, Marilyn Karp, John Kacere, Adele Weber, and Bob Kaupelis, among others. I received a Bachelors of Fine Art from SUNY Albany in 1979 where I studied drawing, painting, sculpture and photography. I've attended the Art Student League of NYC (Painting Award), New School University in NYC (Etching), School of Visual Arts (Design), and Ramapo College of NJ (K-12 and Art Teaching Certifications).

I have also worked as a graphic artist in photography and became a master printer utilizing silkscreen and airbrush printing methods to make my own handmade fine art prints and artworks. Since that time I have worked digitally, as well as by hand by drawing and painting.

I got my Masters degree at New York University in 1983 in Studio Art. I had recently been at the Art Students League in 1981 and received some nice life drawing practice, but this was well after completing my undergrad BA in 1979 in Fine Art at the State University of NY at Albany where I had concentrated on modern art after switching to art from science. I always considered myself a fine artist despite the full time jobs I held, or when working in commercial art to make money.

In between my BA and my MA degrees, I had found a NYC business job and a love for Impressionism. This came about, mostly by going to NYC museums and galleries on my lunch hours and after work. My mom was an Impressionist, but I wanted to invent something really new, different and modern. I wanted something that would represent the time in which I lived, which was complicated, stressed out, detailed and fast paced. Computers had not arrived yet, much less the Internet. Photography was strictly on film. The digital world was soon to come. I wanted to maintain the old world hand made traditions and have even when faced with the digital age.

I found a way, after commuting an hour and a half each way to the city to work to make my art. I was young and had plenty of energy and painted deep into the night and then was able to rise early for the long commute to the city and go to college after work. I learned to sleep on the rough train ride on the way in and even started drawing on the bouncy return trip in small sketchbooks. Eventually I found a job in an art related field and was able to paint on the side when things weren't busy. I was able to go off at lunch to the best locations in Midtown Manhattan and draw and paint. I found a friend, who has since died of cancer that went around and drew with me and we spent many hours arguing art philosophy, much like Van Gogh and Gauguin probably did.

I had always loved detail, but it seemed that all detail had been previously been removed from art, as the big expression at the time had been "Less is More". Minimal and conceptual art were big and my friend simplified everything to shapes. I argued for a more detailed and complicated art form.

I loved the old frames and the way art during the 19th century time period was hung salon style. My paintings were a bit Realistic, a little Surrealistic and then Impressionistic at first. I restored old frames and painted paintings to fit into their odd sizes, then came upon the idea to paint with dots and miniature brush strokes. When at first I loved Money and Renoir I slowly gained in appreciation for a more compositional and detailed art of Van Gogh and Seurat the one who influenced him.

I wanted my art to rival the greatest paintings that had been done before and knew that with my love of detail, that if I put in the time I could come up with something really modern and different despite the vast time vacuum. I called it "Maximal Art" and said "More is More" people laughed at the huge old frames and the dots infuriated even my professors. I stood my ground and am still around when many are not and my ideas have influenced the world to this day. A famous professor later even took the idea of my dots and claimed it his own. His paintings were all about minimal stripes when I first studied under him. I was also dabbling in Realism, but slowly over time came back to what I was all about all along, but the dots changed some. The detail work has not changed unless I was working plein air and finishing a painting outside all at once, and has since gotten so extreme that some artworks have taken many years to finish.

When I started at NYU in 1981-2, I had recently experienced the personal tragedy that all my art was stolen. I had done a street exhibition in NYC and my van was taken with all my art inside. I had nothing but my slides left to offer the school, but I got into the MA program with only that. The Interviewing professor at NYU asked me about my favorite art forms and seemed interested that I loved this old style of art and noticed how I had been combining it in new modern ways. Among my fellow students I seemed alone in my love for this style of art, as this was at a time when everything was completely going "Punk" and Neo Expressionist. Black was "In", not my wild colors. When I showed them my new paintings done with "dots" and small spots and daubs of paint they went crazy and huge arguments ensued about the validity of what I was attempting. Eventually I included dripping and splashing and the re-invention of Action Painting as a street art form with Performance. This probably came about after spending so much time outside painting landscapes and in front of crowds watching me paint. I started so many things back then that for almost 30 years I have been trying to finish what I started, as well as doing new things.

I wrote my Masters thesis on Van Gogh and have visited his museum in Amsterdam as well as seeing many major exhibitions of his work. I am grateful for the experience of interacting with Impressionism in a modern world and in a modern context and for seeing all the wonderful examples in the many museums I have attended.

I can appreciate what it is like to work like this as well. I can understand what it was like to have nobody purchase your paintings and to argue about your ideas about art. I quit my day job and took a year off and used all my savings in order to paint outside every day. I painted outside in the winter in the freezing cold, in the boiling hot summer and all the times in between. I now also teach others about art and try to help them understand why art is so important to their lives.

ART EXHIBITIONS
Solo:
2009 Ringwood Public Library, Ringwood, NJ
2007 Kean University, Nancy Dryfoos Gallery Union, NJ (2 solo exhibitions)
2007 Ringwood Public Library, Ringwood, NJ (2 solo exhibitions)
1997 Skulski Polish Foundation Gallery Clark, NJ
1990: The Emerging Collector, N.Y.C., BHF Bank, N.Y.C.
1987: Helio Galleries, N.Y.C., Nite Gallery, N.Y.C.
1986: Pene du Bois Gallery, N.Y.C.
1984: Lucky Strike Gallery, N.Y.C.,
1983: Eighty Washington Square East Galleries, N.Y.C

Two Person:
1987: Nite Gallery, N.Y.C.
1982: Le Nid Gallery, Northport, N.Y.

Group Exhibitions:
2008: House of Mirrors On-line exhibition curated by Luca Batoni
La Casa degli Specchi - 2008 - mostra online
2008 Morristown Community House Art Exhibition
2007 Morristown Community House Art Exhibition
2007 Bergen County Annual Art Exhibition Paramus, NJ
2006 James Howe Gallery Kean University Union, NJ
2001: St. Catherine Patron of the Arts Art Exhibition Ringwood, NJ
1998 Skulski Gallery International Graphics Exhibition Clark, NJ,
1988-1993: The Emerging Collector Gallery N.Y.C.
1990: The Arsenal Gallery N.Y.C. Curated by Joshua Teplow:
1990 Woodstock Art Exhibition Curated by Anne Debriano,
1989 Kilimanjaro, N.Y.C. Curated by Anne Debriano,
1989 Mars Bar, N.Y.C. Curated by Toyo;
1989 65 Bleeker Street Gallery,
1989 Nice Biennial Nice, France,
1988: Emerging Collector, N.Y.C.
1987: Now Gallery N.Y.C.
1987 Helio Galleries, N.Y.C.
1987 Cuando Exhibition Space. N.Y.C.
1987 Artifacts Gallery Miami, Florida
1987 Nite Gallery, N.Y.C.
1987 ABC No Rio Gallery, N.Y.C. COLAB:
1987 The Art Director's Club Gallery Juried by Patterson Sims, Holly Solomon et al.,
1987 Discovery Gallery, Glen Cove, N.Y.
1987 Discovery Metro Gallery, L.I.C., N.Y.
1986: Jus De Pomme Gallery, N.Y.C. Curated by Emma Harvin,
1986 Helio Galleries, N.Y.C.,
1986 Eastman Wahmendorf Gallery, N.Y.C.
1986 Now Gallery, N.Y.C.
1986 No Se No Gallery, N.Y.C.
1986 Fusion Arts, N.Y.C.
1986 Forefront Gallery, L.I.C., N.Y.,
1986 Civilization, N.Y.C.
1986 Lebron, Sinclair,and Upton Legal Offices, N.Y.C.
1986 The Field, N.Y.C. Benefit and Auction,
1986 Nite Gallery, N.Y.C."Taking Liberties",
1986 Greenwich Auction Room, N.Y.C.
1985: Eastman Wahmendorf Gallery, N.Y.C.,
1985 Nite Gallery N.Y.C. curated by Louis Lopes
1984 65 Spring Street, N.Y.C.
1984 Westbeth Gallery, N.Y.C.
1982 Art Complex East, Riverhead, N.Y.,
1982 Wilbur National Bank, Oneonta, N.Y.,
1982 Kaber Gallery, N.Y.C.,
1982 Shirley Scott Gallery, Southampton, N.Y.
1981 The Art Students League
1981 Five Towns Art Exhibition, Woodmere, N.Y.
1979 Le Grand Illusion Gallery, N.Y.C.,
1979 S.U.N.Y. Albany Gallery
Performance Art:

2004 – 85th- 83th Streets and Second Avenue NYC
1986 Now Gallery, N.Y.C.
1986 Fashion Moda, Bronx, NY
1986 Fusion Arts N.Y.C.
1986 Tompkins Square Park, N.Y.C.
Sponsored by the N.Y. Council on the Arts, N.Y.C.
1986 Pene Du Bois Gallery, N.Y.C.
1985 Now Gallery, N.Y.C.
Parrish Art Museum, Southampton, N.Y.
1981-1983 Cow Harbor Day, Northport, N.Y.

Web Listings:
Artbreak
http://www.artbreak.com/jetiii
http://www.artbreak/jetiiiphotography
http://www.artbreak.com/jetthree
http://www.artbreak.com/jetiiidrawings

The Brooklyn Art Project
http://www.brooklynartproject.com/profile/jetiii

JETIII is Listed in the World Artist Directory http://WorldArtistDirectory.com

Red Bubble
http://www.redbubble.com/people/JETIII

Create Culture
http://www.createculture.org

Fine Art America
http://fineartamerica.com/profiles/jet-iii.html

Paintings I Love
http://www.paintingsilove.com/artist/jetiii

Saatchi-Gallery
http://www.saatchi-gallery.co.uk/yourgallery/artist_profile//92342.html

Gather
http://jetiii.gather.com/

Global Art Collectors
http://www.globalartcollectors.com/myaccount

The Art World
http://www.the-art-world.com/artists/us-jet111.htm

Behance Network
http://www.behance.net/JETIII

NYAXE
http://www.nyaxe.com/jetiii

Twitter
http://twitter.com/JET_III

Facebook
www.facebook.com/jetiiiart

Photobucket
http://s847.photobucket.com/home/JET_III

MY Art Space
http://myartspace.com/

From my art exhibition list, you can see that I have been making my art for 30 years now. I was very prolific when I first started out as an artist and started so many artworks. So many, that I could never finish them for many years to come.

They used to tell me that it was wrong to make art in this manner, that I had to pick something and stick with it, and that all my art exhibited in a room should exactly match. I disagreed!

I looked back at salon style, old frames and incorporated the frame into my art in a new way. they told me that the frame should not compete with the art and I said "why can't the frame be the art too. Why can't the frame work with the art in a completely new way?"

I did produce art that looks like the same person painted them, it just is harder to analyze and took me a much longer period of time to work it out. What would work for me, was my inspirational approach as long as I was constantly making art I would never give up making art.

I wanted art that changed, so I invented reversible art. My first drawing was something that you could just turn around upside down or side to side, but eventually I made twice the amount of art one painting on each side and even around the frame too. Then in 1983 I made convertible sculptures that were changeable and move-able.

They told me that art should hang in only one direction. I wanted a gallery director, or an owner, to also have a choice, or decision in the way the art would hang. I also felt that if Picasso had different artistic periods and inventions, why shouldn't I go through different periods and invent new ways of seeing things in my own art. Although Picasso died in 1973 and I never got to meet him, I learned a lot from him and why he didn't care what you thought of his art, or if you understood what he was doing.

I invented something different in 1979 that I called a Giant Progression where each artwork would lead me to the next idea in a process of art creation. No style was out of my grasp and I used impressionism, realism, expressionism, surrealism, etc. My vibrant color was another thing that was not done in the minimal art period. In 1979-83 I was creating art that was based on earlier styles, but made in a completely new context.

In 1982-83 I also re-invented action painting, and by the mid 1980's was making them huge and in front of crowds.

Time and the cyclical nature of the work would alter the work over the course of my lifetime. I worked on multiple pieces at one time over a long period of time and finished some others quickly, some all at once, others very slowly, a little at a time, and others that I was never quite satisfied with were worked on again and again.

I never limited my styles, approaches, or media and had no fear of going back and working on some of these earlier pieces, if I really felt like it. Some of my artworks marked, or signified a specific time period, and I never altered them. If you look carefully by date I was far ahead of my time, and even my own teachers like Ross Bleckner borrowed directly from my ideas. His cell paintings and even his paintings to this date are influenced from my dot paintings and landscapes done in the early 80's when he was just painting stripes and even later with his black paintings which were just very trendy for the punk East Village in the 1980's. My work was not trendy, or well understood in the 1980's and finally now can be seen on-line and appreciated better over the course of my lifetime.

When I met with Gerhard Richter and we discussed our art, he was the only one at that time (around 1987) that could understand my point, as he either worked realistically or abstractly, but my concept was quite different, however, there were some similarities.

Larry Rivers and I discussed the unfinished aspects of his work which I appreciated, probably due to the many unfinished drawings that I had all at one time and the nature of my small drawings themselves.

Andy Warhol was visibly shaken when he looked at my art and also suggested I go into fashion design, and making of multiples, but I had no interest, only in the designs for myself. My silkscreen pop approach really solidified itself after his death and shortly thereafter.

I always wanted each artwork to stand up individually and each individual to find at least one artwork they could appreciate. Where Warhol wanted to bore you with his art and would accept commissions, this was not my desire.

Even my prints are usually unique, in that each is different, or later hand finished differently.