Mark Ryden's Book

MARK RYDENsBiography and Paitings

Born January 20, 1963 (age 49) Medford, Oregon

Field Paiter Training Art Center College of Design

Mark Ryden BiographyBlending themes of pop culture with techniques reminiscent of the old masters, Mark Ryden has created a singular style that blurs the traditional boundaries between high and low art. His work first garnered attention in the 1990s when he ushered in a new genre of painting, Pop Surrealism, dragging a host of followers in his wake. Ryden has trumped the initial surrealist strategies by choosing subject matter loaded with cultural connotation. Rydens vocabulary ranges from cryptic to cute, treading a fine line between nostalgic clich and disturbing archetype. Seduced by his infinitely detailed and meticulously glazed surfaces, the viewer is confronted with the juxtaposition of the childhood innocence and the mysterious recesses of the soul. A

subtle disquiet inhabits his paintings; the work is achingly beautiful as it hints at darker psychic stuff beneath the surface of cultural kitsch. In Rydens world cherubic girls rub elbows with strange and mysterious figures. Ornately carved frames lend the paintings a baroque exuberance that adds gravity to their enigmatic themes.

Mark Ryden received a BFA in 1987 from Art Center College of Design in Pasadena. His paintings have been exhibited in museums and galleries worldwide, including a retrospective Wondertoonel at the Frye Museum of Art in Seattle and Pasadena Museum of California Art, and in the exhibition The Artists Museum at the Museum of Contemporary Art in Los Angeles. He currently lives and works in L.A.

Biographie

The GrinderOil on canvas, 2010

Painting Size: 37 1/2 x 25 1/2 inches; 95.3 x 64.8 cmFramed: 56 x 32 x 3 1/2 inches; 142.2 x 81.3 x 8.9 cm

The Gay 90s Show

The Gay 90s

Show

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IncarnationOil on panel, 2009

Painting Size: 72 x 48 inches; 182.9 x 121.9 cmFramed: 86 1/2 x 63 1/2 x 4 1/2 in; 219.7 x 161.3 x 11.4 cm

Virgin and ChildOil on canvas, 2010

Painting Size: 24 x 18 inches; 61 x 45.7 cmFramed: 29 x 23 x 3 inches; 73.7 x 58.4 x 7.6 cm

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The Piano PlayerOil on canvas, 2010

Painting Size: 20 x 30 inches; 50.8 x 76.2 cmFramed: 29 x 39 x 3 inches; 73.7 x 99.1 x 7.6 cm

Pink LincolnOil on canvas, 2010

Painting Size: 22 x 16 inches; 55.9 x 40.6 cmFramed: 55 x 34 x 3 inches; 139.7 x 86.4 x 7.6 cm

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The Snow Yak Show

The Snow Yak

Show

Sophias BubblesOil on canvas, 2008

Painting Size: 30 x 90 Long YakOil on canvas, 2008

Painting Size: 12 x 30

Girl in a Fur SkirtOil on canvas, 2008


Snow YakOil on panel, 2008


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HeavenOil on canvas, 2008


Grotto of the Old MassOil on canvas, 2008


AbominableOil on canvas, 2008


Fur GirlOil on canvas, 2008


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The Tree Show

The Tree of LifeHeight: 66, Width: 42 2006

Oil on canvas

Allegory of the Four ElementsHeight: 28, Width: 36 2006

Oil on canvas

YoshiHeight: 36, Width: 48 2007

Oil on canvas

The Tree Show

19

Ghost GirlHeight: 20, Width 24 2006

Oil on canvas

The ApologyHeight: 24, Width: 32 2006

Oil on canvas

Girl Eaten by TreeHeight: 12.75, Width: 19.75 2006

Oil on canvas

California Brown BearHeight: 20, Width:16 2006

Oil on canvas

Fetal Trapping in Northern CaliforniaHeight: 9.25, Width: 12.25 2006

Oil on Canvas

Logging TruckHeight: 12, Width: 26. 2006

Oil on canvas

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Maple Tree Nymph14.5 x 15 2006Oil on wood slab

Redwood Spirit 210 x 10.5 2006Oil on wood slab

Oak Tree Nymph13 x 12 2006

Oil on wood slab

Walnut Spirit14.5 x 9 2006

Oil on wood slab

Walnut Tree Nymph7.5 x 6.5 2006Oil on wood slab

Redwood Spirit 114 x9.5 2006

Oil on wood slab

Pine Tree Nymph15 x 9.5 2006

Oil on wood slab

White Oak Tree Nymph13.5 x 6.5 2006Oil on wood slab

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Bunnies & BeesBunnies & Bees Exhibition

Essay by Mike McGee

Publisher: Porterhouse Fine Art Editions / L.A, California 2001 Tracing the Connection Between Bunnies, Bees and

Abe Lincoln

Bunnies &

B

ees

The RingmasterOil on Canvas, 2001

Painting Size: 20 x 28Framed Size: 32 x 31

Little Boy BlueOil on Canvas, 2001


What is it that makes Mark Rydens paintings so engaging? At the crux of his paintings is the surrealist strategy of combining unrelated images to create scenes that could never exist in reality Dali always claimed that his selection of subject matter was completely ran-dom and involved no conscious thought whatsoever. in 1924, when Andre Breton wrote the Surrealist Manifesto, the no-tion of fusing the rationally unrelated was so fresh that the combination of almost any imagery or objects was provocative.

Man Ray produced a startlingly enchanting object by simply putting a row of tacks on the underside of an antique iron. But as the decades have passed Dalis brand of pure surrealism has lost much of its potency. Perhaps it is because reality has become increasingly surreal, but the near ecclesiastical gravity with which the surrealists approached their work in pre-WWI Europe doesnt play the same today. In contemporary culture pure surrealisms most common, and effective, use is as a strategy to achieve humor in movies. Ryden has trumped the initial surrealist

strategies by consciously choosing subject matter for his paintings that are loaded with cultural connotation. He relies on the irrational to help him achieve intuitive leaps in his combining of subject matter: with dazzling results. The sheer amount of layered information in each painting also contributes substantially to the impact of his work, But the crowning factor with Ryden is that he is an artist in touch with his time. The overall look and feel of his paintings and the stuff he finds interesting strikes a resounding cord with contemporary everyman. Firmly in the foundation of the look and feet of his paintings is the color pink. it is a sweet soft feminine color, it is the baby girls counterpart to the baby boys powder blue (another color Ryden likes to use), and it is half of the 1950s hipster combination pink-and-black. Things dont get much better than they do when youre in the pink, it is also the color of flesh and meat, and pink is a very popular color for bunnies. Bunnies and bees are curious things. The stuffed variety of bunnies Ryden has a penchant for are generally more soothing than a cup of hot chocolate and provide almost as much security as mommy. Yet there can be something sinister about bunnies. Those

Bunnies & Bees Exhibition Book

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The Magic CircusOil on Canvas, 2001


Jessicas HopeOil on Canvas, 2001


frozen facial expressions can be haunting. The anatomy of bees is remark able as evidenced by the idiom, bees knees. Bees unquestioningly buzz around doing the bidding of a queen. And some how they make honey. In the midst of all this pink and bunnies and bees, Abraham Lincoln keeps popping up in Rydens paintings. Honest Abe was a self-taught man born in the backwoods of Kentucky. Always a champion for the common folk he was a rail-splitter turned flatboatman-storekeeper-postmaster surveyor-prairie lawyer cum on-again-off-again politician who became president with less than 40% of the national vote. He led America through its most trying ordeal, the Civil War, and emancipated the slaves. And then on Good Friday in 1865 the actor John Wilkes Booth shot him in the back of the head in the third act of the comedy Our American Cousin at the Ford Theater. He is more icon than human: the pure stuff of legend and enduring fascination. In the Inspirations section in the back of his book Anima Mundi, Ryden placed Lincolns photograph aside a headshot photo of a Colonel Sanders statue. Colonel

Sanders, born Harland Sanders, opened his original Sanders Cafe in the rear of a service station in Corbin, Kentucky, in 1929 on his way to becoming the living trademark for the international fast-food empire that is Kentucky Fried Chicken. Even though he died in 1980 he seems as much alive today as he ever did. Like Lincoln, he too is more icon than human. While Ryden is interested in the two mens fame, he is also interested in their aura and super human status and the circumstances and mechanisms by which it all works. Ryden is fascinated with systems and structures. He confesses that if he werent an artist he might have been a mathematician or an engineer, Be it fame, quantum mechanics, the Freemasons concept of the interaction of mind and matter, or the Kabala, he muses at structures and symbols and how they go together and what they mean, It is said that although Picasso loved books he never read a book cover to cover. He would just read parts here and there and fill in the blanks intuitively. Ryden, who also has a passion for books, approaches ideas similarly He may use a detail here and there, the reference in PUELLA AMINO AUREO to gold as the 79th atomic structure in the elemental table

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Puella Animo AureoOil on Canvas, 2001


The Last RabbitOil on Canvas, 2000


for example, but he is more interested in the overall structure and the way the details fit together. He is convinced that there is a cosmology that explains everything and that this explanation has been constant throughout the ages and has been codified in every age. References to the scared and the spiritual abound in his paintings. In our skeptical culture it is not fashionable to believe in anything today. Ryden avoids being dogmatic by suggesting that there are threads of truth found in a wide variety of sources. With cross-referencing and innovative combining of these sources he gives us a fresh spin to old news. In his book Anima Mundi there is a sepia-tinted black-and-white photograph of Ryden dressed in a suit holding a paintbrush and palette in his hand; he looks like a 19th century gentleman artist. His relationship to the 19th century is not as fanatical as McDermott and McGough, the two contemporary performance artists who have gone so far as to live every aspect of their lives as if they are in a time-warp shunning electricity, plumbing and other modern conveniences, but Ryden has roots in the 19th century. Perhaps, his most notable characteristic suggestive of the

past century is his attention to detail. It took him nearly two years to complete the eight paintings in this exhibition. Taking time to work on things is a luxury few people indulge in our fast paced culture. In the art world craftsmanship has been unfashionable for most of the twentieth century. This erosion of belief in traditional craftsmanship began with the impressionists rejection of academic canons of beauty and painterly practice and was finalized when the Dadaists concluded that after the atrocities that were WWI all Western civilization values had to be summarily rejected on principle.

Ryden boldly embraces an old European regard for craftsmanship in both his paintings and the frames for his art. He sometimes uses 19th century style or older antique frames; he even traveled to Thailand to have frames he designed carved by hand. Originally trained as an illustrator, Ryden learned to paint in acrylic. With help from a friend he taught himself to use oil paint. His refined use of oil paint to create meticulous surfaces has been influenced by his observation of academic and classical painting. Another tie to the 19th century is Rydens interest in Bouguereau. In

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Sophias Mercurial WatersOil on Canvas, 2001


YHWHOil on Canvas, 2000


Stanford scholar Lorenz Eitners textbook on 19th century painting, he retells the story of a group of prominent French artists having dinner at a dealers house about 1890. The group debates who will be remembered as the greatest artist of the late 19th century. Adolphe Bouguereau was their near unanimous conclusion. The quintessential academic artist Bouguereau was one of the most celebrated artists of his time, but today the impressionists are the most remembered artists of the late 19th century: Bouguereau has been relegated to a historical footnote. Ryden also finds interest in Bouguereaus use of composition and his handling of flesh tones and light. One of the signatures of academic painting is the finely finished painterly detail, and, at this, Bouguereau was a master among masters. Beyond the overt pop culture references in Rydens work there are layers of art historical references. He mentions in this catalog his nod to Gauguin and Miro in The Magic Circus (Beth), but there are dozens of more subtle references in his work, Neo-classical painters such as David, one of Rydens favorites, were noted for their shallow pictorial space, a device found

in many of Rydens paintings. Sophias mercurial waters features a classic odalisque pose; Sophias wanton direct gaze is a visual quote from Monets Olympia. In his 1928 essay Le Surrealism et le peinture, Andr Breton writes, One day, perhaps, we will see the toys of our whole life, like those of childhood, once more. The surrealists marveled at the childs mind and so does Ryden: Children are miraculous, he writes. In that same essay Breton wrote, The marvels of the earth a hundred feet high, the marvels of the sea a hundred feet deep, have for their witness only the wild eye that when in need of colors refers simply to the rainbow. Ryden, who as a child would draw figures with a third eye, understands Bretons notion of the wild eye. Ryden has a Magic Monkey that comes to him in the middle of the night and helps him open that eye. And what he sees is a vision uninhibited by the restraints and inhibitions of adulthood. He experiences the freedom to truly see the rainbow.

-Mike McGee

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The Meat ShowThe Meat Show Exhibition

Book

Publisher: The Mendenhall Gallery Pasadena, California 1998

The Meat

Show

The Ox Suckling Romulus and RemusOil on Panel, 1997


ChristinaOil on Canvas, 1998


emSnow WhiteOil on Canvas, 1997


A Dog Named JesusOil on Panel, 1997


Well, I have to admit I dont really paint my paintings; a Magic Monkey does. He comes to my studio late at night, when its very quiet. Mysterious things happen late at night when most people are asleep. I help the magic monkey, but he does most of the work. My big job is to get him to show up. Ive been learning just what that takes. He is very particular. The right frame of mind is important; I have to switch my brain from linear, logical thinking to creative, free feeling. If I start to think too much, then its time for a nap or perhaps build a fort out of blankets with my son. Things have to flow from a place that is more subconscious and uninhibited. When you believe and have faith things will flow. You can really feel it. Its like magic. The Monkey comes tapping at the door, we get the paint and brushes out of the treasure chest and we have a great time making art. When I was a child in school my teachers would wonder why my drawings of dogs would have their intestines showing or

The Meat Show Exhibition Book

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The Ecstacy of CeceliaOil on Canvas, 1998


The DebutanteOil on Canvas, 1998


The Pumpkin PresidentOil on Canvas, 1998


The Birth of VenusOil on Panel, 1998


why my self portraits had a third eye. They disapproved, but I got a lot of support from my family and I learned to really enjoy confusing my teachers and even scaring them. Children have no inhibitions when making their art. Ive never seen my 4 year old son have a creative block; and his art is much more interesting than most adults art. Children are miraculous.

I believe to get ideas you have to nourish the spirit. I stuff myself full of the things I like: pictures of bugs, paintings by Bouguereau and David, books about Pheneous T. Barnum, films by Ray Harryhausen, old photographs of strange people, childrens books about space and science, medical illustrations, music by Frank Sinatra and Debussy, magazines, T.V., Jung and Freud, Ren and Stimpy, Joseph Campbell and Nostradamus, Ken and Barbie, Alchemy, Freemasonary, Buddhism. At night my head is so full of ideas I cant sleep. I mix it all together and create my own doctrine of life and the universe. To me, certain things seem to fit together. There are certain parallels and clues all over the place. There may be a little part of Alice in Wonderland that fits in.

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Princess SputnikOil on Canvas, 1998


Little StarOil on Panel, 1997


Charles Darwin, and Colonel Sanders provide pieces. To me the world is full of awe and wonder. This is what I put in my paintings.

It seems to me that everything I am going to paint I have already painted. Something will click and an entire image will flash in my head. I then just have to remember what all the specific details of the image are supposed to be. I will often get stuck on a minor detail like the pattern on a curtain or the species of a background animal. It is very clear when I have the correct answer and resolve all the pieces of a work successfully. I just come as close as possible to what is supposed to be there.

I believe if you follow your heart and do what you love, success will follow. If you enchant yourself, others will be too.

-Mark Ryden - October, 1998

40

BloodBLOOD: Miniature Paintings

of Sorrow and Fear

Juxtapoz Magazine : Chuck Amok Sept Oct 2003

Blood

The Cloven Bunny 40 The Baptism of Jajo Lincolns Head

Mark Ryden has recently moved his infamous studio to the top of the famous, allegedly haunted, Castle Green hotel in Pasadena, California. I couldnt wait to meet the mysterious Mr. Ryden; king of the current pop narrative movement the Art World cant shake. I had so many questions I couldnt wait to ask him, questions

my life. I lost the financial security I had worked for years to achieve. I lost a beautiful home I worked so hard to own. But, of course, worst of all, I lost my family. I am allowed to be with my children on Tuesdays and every other weekend, but that is quite different from the relationship we had when I was with them everyday. It is brutal to have your dreams shattered. The hopes you have for your life and family get torn apart and it causes a pain very

like, what is the significance of the fact that Abraham Lincoln and Christina Ricci were both born on February 12th? When I finally meet Mr. Ryden, he was dressed in black, wearing a long priest-like coat. The thing I could make no sense of and will haunt me to my dying day was the clown mask he was wearing. He removed it as if this was a normal thing to do. Hello

deep inside. I found it curious that there was no blood with my trauma. It seemed like with so much pain I should be covered in blood. I wanted to be able to see my wounds, but they were not on the surface of my flesh. I was taken aback by his candid response. I did not want to hide why I did these paintings, he said. I know it might seem like a very personal thing to

he said to me, in a kind voice, and our interview began. Why blood? I asked him. Sometimes life can be very dark. Ive been going through a very difficult time, he replied. Last year, after 14 years of marriage, my wife asked me for a divorce. Anybody who has been through a divorce knows how horrible it can be. With in a years time I lost some of the most important things in

share with the world. I suppose most people are surprised, but I think the world would be a better place if more people didnt hide their pain. We all have pain. It is comforting to know we are not alone in it. Thats why I had the Blood Show open in Los Angles on my wedding anniversary. Not only was the opening on your anniversary but on that very night Mr. Bush started his own Blood show. He began dropping bombs

BLOOD: Miniature Paintings of Sorrow and Fear

4544

Fountain DripsWeeping Night Visit

on Iraq within minutes of the start of your opening. Was this an eerie coincidence? - Yes, very eerie and very sad. As much as it should not have surprised me I could not believe Bush actually went and did it. He is making this world into a very frightening place. Do you see the world as filled with only Sorrow and Fear? There is a very dark and painful side

There is a serious side to these paintings and there is also a side inspired by The Haunted Mansion. There is real pain and there is also something else that isnt just irony. I include lowly pop culture influences in my art without an attitude of ironic judgement. I can see the sublime beauty in a cheap toy package and I can see the kitsch qualities in the loftiest work of art in a museum. These things coexist in life

to life, but that is natural. People in our culture think they shouldnt ever be unhappy. They think being unhappy is unnatural. They try and make it go away. They take pills or they go to therapy to fix themselves. They blame themselves or others for their suffering. We need to understand that sadness is as much a part of this life as joy. It would be easy to just get bitter and cold while focusing on the dark side, but there is also an amazing,

and can coexist in a painting. Critics who think a higher truth can only be found in obtuse, elitist art are just as full of shit as those who think artists shouldnt go to college and should have lots of tattoos. Some of the paintings are only a few inches big. Why did you paint them in miniature? Making these paintings at such a tiny scale captured the right tone. I

wonderful side of life. If you look for it, there is true magic all around us. Maybe that sounds trite to the hardened self-protective modern ego, but there is magic in this miraculous life. If you open yourself, you do make yourself vulnerable to pain. But the deeper pain you experience, the deeper joy you can have. These paintings seem to combine darkness with a certain amount of humor.

didnt want them huge and screaming blood. I didnt feel like doing that. My intention was much more quiet and introspective. I wanted them to be more of a whisper. Blood usually cant whisper, by nature it screams. Blood is very powerful. While meat is the substance that keeps our living souls in this physical reality, blood keeps our meat alive. Blood is liquid life. When blood escapes our bodies

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Manus Christi Wound

we are alarmed to the very core of our brains. It is life leaking out of us. It is frightening and makes red a profoundly intense color. Is that why you covered the gallery walls with red velvet drapes and had everyone wear red to the opening? Yes. I liked the mood it created. Adding further to the mood, Stan Ridgway created a Soundtrack for the show. I have loved Stans music

for many years, and it was such an honor to work with him. We met at my Bunnies and Bees show last year. We were dancing around the booze hole, and he came up with the idea to make music to go with my art. It is extraordinary that it actually came to be. Stan and his wife, Pietra Wexstun, created a special composition to go with each painting. Their beautiful music added a great deal to the experience of seeing the show.

Just one more question, Mr. Ryden. What is the significance of the fact that Abraham Lincoln and Christina Ricci were both born on February 12th? At this point in the interview Mr. Rydens attention seemed to wander. He slowly replaced his clown mask and fell silent. Realizing the interview was over I gathered my things, walked out of the studio, and rang for the elevator.

Exhibitions

48

Solo Exhibitions

2010The Gay 90s Olde Tyme Art Show, Paul Kasmin Gallery , New York, N.Y.

2009 The Snow Yak Show, Tomio Koyama Gallery , Tokyo, Japan

2007The Tree Show, Michael Kohn Gallery, Los Angeles, California

2005Wondertoonel, Pasadena Museum of California Art, Pasadena, California

2004Wondertoonel, Frye Art Museum, Seattle, Washington

2003Blood Earl McGrath Gallery, Los Angeles, CaliforniaInsalata Mista Mondo Bizzarro Gallery, Bologna, Italy

WBunnies and Bees, Grand Central Art Center, Santa Ana, California

2002Bunnies and Bees, Grand Central Art Center, Santa Ana, California

1998The Meat Show, Mendenhall Gallery, Pasadena, California

Group Exhibitions

2010 Art Shack, Laguna Art Museum, Laguna Beach, California

2009 Naked, Paul Kasmin Gallery, New York, NY

Pictopia - Festival of New Character Worlds, Haus der Kulturen der Welt, Berlin, Germany

2008 Prints from the Cal State Fullerton University Collection II, Cal State Fullerton Main Art Gallery, Fullerton, CA In the Land of Retinal Delights, Laguna Art Museum, Laguna Beach, CA

2007Charity by Numbers, Corey Helford Gallery, Culver City, CAEl rey de la casa Institut de Cultura de Barcelona, Spain

2006Drawn to Expression. Art Center College of Design, Pasadena, CA

2005

Au Pays de Merveilles Galerie Magda Danysz, Paris, France

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2004Innocence Found DFN Gallery, New York, New York100 Artists See Satan Grand Central Art Center, Santa Ana, CaliforniaAge of Aquarius Copro-Nason Gallery, Culver City, CaliforniaModern Love M Modern Gallery, Palm Springs, CaliforniaFrom Your Valentine Copro-Nason Gallery, Culver City, CaliforniaJuxtapoz 10th Anniversary Show 111 Minna Gallery, San Francisco, CA

2002Hello PressPop Gallery, Tokyo, JapanGods and Monsters Roq La Rue Gallery, Seattle, WashingtonGroup Show La Luz De Jesus Gallery, Los Angeles, CaliforniaDraw Roq La Rue Gallery, Seattle, WashingtonVon Dutch an American Original Northridge Art Galleries, Northridge, CA.

2001 Representing LA, Pictorial Currents in Southern CA Arts Frye Art Museum, Seattle, WashingtonRepresenting LA, Pictorial Currents in Southern CA Arts Laguna Art Museum, Laguna CaliforniaGroup Show La Luz De Jesus Gallery, Los Angeles, California

2000Margaret Keane and Keaneabilia Laguna Art Museum, Laguna Beach, CaliforniaLuck of the Draw La Luz de Jesus Gallery, Los Angeles, CaliforniaRetrospective Mendenhall Gallery, Pasadena, CaliforniaInvitational III La Luz de Jesus Gallery, Los Angeles, CaliforniaUp From the Underground Hollywood Arts & Culture Center, Hollywood,

1999Group Show Copro-Nason Gallery, Culver City, CaliforniaSix Forms of Love and Despair Merry Karnowsky Gallery, Los Angeles, CATiki Group Show Huntington Beach Arts Center, Huntington Beach, CAInvitational II La Luz de Jesus Gallery, Los Angeles, California

W1998KittensnKads Merry Karnowsky Gallery, Los Angeles, CaliforniaCustom II Acme Gallery, San Francisco, CaliforniaNo Red Ribbons Julie Rico Gallery, Santa Monica, CaliforniaTribute to La Luz de Jesus Track 16 Gallery, Los Angeles, CaliforniaGroup Show La Luz de Jesus Gallery, Los Angeles, California

1997Calivera Kustom Merry Karnowsky Gallery, Los Angeles, CaliforniaThe Secret Society of Dog Art Random Gallery, Los Angeles, California

199621st Century Tiki La Luz de Jesus Gallery, Los Angeles, California

1994Side Show Tamara Bane Gallery, Los Angeles, California

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Mark Ryden's Book