“Lynia” is my first and so far only sculpture. It is dated circa 1978 maybe 1979, I would have only been 22 or 23 years old. I sculpted it at the Free Academy Psychopolis in The Hague, Holland. It was a marvelous school, no teachers! They had models everyday, all day, and they had facilities for printmaking, sculpture, and life drawing sessions. I did this as an exploration to see if I could do it. Even today, I think “wow, this is really good look at that ear!” Even more remarkable is I was never taught figure in drawing, painting, or sculpture–my 3 years of fine art at USC, didn’t teach the figure. They just left us to our own devices and played with postmodernism.Continue reading “My First Sculpture in Clay and Then Finished in Bronze”
Myths, legends, and stories infiltrate our collective and individual consciousness, and the same holds true for the visual arts. The myth of Icarus, who flew too high then crashed and burned, was mentioned by Apollodorus around 150 BC and has since shown up countless times in visual art.
Icarus Landing, Phaethon, and Ayn Rand
An interesting twist in the legend comes with my 2000 version. The concept was inspired by Ayn Rand, who rewrote the myth of Phaethon in Atlas Shrugged. In the ancient myth, Apollo gives the reins of the sun chariot to his son Phaethon, who is unable to control the flying horses or escape his destiny. Phaethon and the chariot threaten to crash and annihilate Earth. Zeus, watching, kills Phaethon with a bolt of lightning, forcing Apollo to retake the reins and right the sun chariot’s course.
In Rand’s version, her character, Richard Halley, composes an opera in which Phaethon brilliantly succeeds to steer the sun chariot to a glorious course. I loved the concept of taking a tragic myth and changing the outcome to reflect my absolute inner belief that magnificent experiences are the stuff of living. The chariot thing was too archaic for my modern sensibility, but with some thought I landed on the concept of Icarus. After flying wildly high, I thought, Icarus would return to Earth with gentle gratitude, lit by the orange glow of the day’s setting sun. I opted for no wings, just the outstretched arms. Appropriately I painted this while I lived in Greece, and I won’t lie, I loved scaling the rock cliffs in the buff, jumping from rock to rock, as my friend philosopher David Kelley can attest to.Continue reading “Icarus: How Visual Artists Such as Myself and Bryan Larsen Steal, Borrow, and Originate”
This was lecture by Rick hosted through the ICC Speaker Series on the Future of Art as he saw it and featured the work of Artist Michael Newberry. This was taped at the beautiful Creekstone Inn in Idyllwild, California, January 14th, 2016
My dear friend Rick Barker gave this talk one year from passing away due to complications with Parkinson’s Disease. The talk is about my art and its context but from Rick’s perspective, a life long interest in human evolution. He wrote Transcending Evolution: A Christian Guide to Understanding, Accepting, and Transcending Evolution available at Amazon. I met him in the Idyllwild dog park when I first moved there. It was rewarding to be surrounded by sights, sounds, and smells of playful dogs, pines, and mountains, earthy dirt, and talk with him of philosophy and aesthetics. I lent him one of my paintings, Arabesque Series: Female Couple. He was terribly ill in the hospital in his last week and wanted to die at home, the next day he died; he was found on the floor with his head uplifted towards my painting.
How Michael Newberry rediscovered the role of color in creating the illusion of depth and space.
The Grizzly Professor
Edgar Ewing came through the door. The students beheld a tweed suit topped with a grizzly gray mustache and sparkling blue eyes. He moved with the melody of confidence and the whimsy of delight. He set down his case on the table, spread his arms, and smiled at the the classroom of freshman students. “Making art,” he announced “is like making love.”
The students looked at one another with sidelong smiles, most of them inexperienced with one or the other part of the metaphor, and certainly not fathoming the connection between the two. It was the first day of a fundamentals of oil painting class at USC. The year was 1974. To read more and see large images at Medium
Today’s update on Model in the Studio, wip, oil on linen, 42×56” It is very interesting that there is a war going on now in the humanities, arts, and in politics. Essentially it’s reason, perception, truth, science, human values, benevolence, resolution, sense, and evolution vs. misinterpretation, manipulation, lies, opinion, ignorance, snark, malevolence, arbitrary, senseless, and devolution. I could not be happier and I chose wisely. Everything in this painting is in the first group, the 2nd group is post modern crap. Hard work and flourishing or bitter rage? Apparently for many people it’s not an easy choice. #lifelessons #figurativeart #wip #contemporaryart #postmodernism #humanflourishing
That is where you are heading. Very few people take advantage of the fact that their future is literally right in front of them. The future awaiting you is to be seen in the art you engage with. Will I have beauty in my life? Am I doomed to depression? Will justice prevail? Will I be happy? Will I be cut up by a chainsaw? Will I throw myself over a cliff or find exaltation in living in the present?
The nature of art is evolutionary–at its best it extends and elevates your knowledge, emotions, and senses. But just because it is our nature to live doesn’t mean we can’t reject life and commit suicide. Art at its worst––I’m talking about postmodernism now––shits on humanity, benevolence, authenticity, and love and leave us with nothing, or worse than nothing. This works both privately, in the deepest recesses of our souls, and publicly, in popular and institutionalized art of our time. In both cases you don’t have to be a victim.
Past all the noise, art as a beacon gives you a choice for your personal future: be a cynic embracing snark, apathy, and ineptness; or be the good person that embraces innovation, authenticity, and human potential. Duchamp, The Fountain (facsimile), the “original” from 1917 was submitted but not shown (probably trashed) by the Society of Independent Artists’ salon in New York. Newberry, Denouement, 1987, oil on linen, 54×78″. A masterpiece of integrating perception, color theory, heart, and our potential for meaningful human connections.
Take the Test
Block out some time to examine art you love and what is popular on social media sites and in contemporary art museums. Lots of people pick art that supports how they feel, you might feel angry or depressed so you could connect with rage art or emptiness. But the test is not how you feel. Rather, it is about how would you like to feel in the near and distant future. Do you really want to be angry your whole life? Die from loneliness? Or do you want to find your inner bliss? The art you surround yourself with pulls you into its path and acts as your future’s beacon. “Is that where I want to go?” In the same way you can see where your culture is heading. Just take a look at a social media site. Some of the things I see are a lot of horror-based art struggling to release hope in a dim distant light. The wisdom of Reinhold Niebuhr comes to mind: “God, grant me the serenity to accept the things I cannot change, courage to change the things I can, and wisdom to know the difference.” We can’t directly change the art of our time but we can do anything we bloody well want to with our own collection.
Since childhood, I have consistently chosen the path of artistic evolution. As an artist, I have sought and found an alternative to postmodernism, and I continue to test the limits of the sublime as I paint. Going against the grain has been at times a difficult choice, but the inner peace and joy of choosing to grow, learn, and mature is my reward. It is a magnificent place to be. Please join me in choosing evolution.
Michael Newberry, Idyllwild, 11/25/2019
In this episode, I reflect that it has been 40 years of painting life-size figures and now it is time for a major retrospection of my work in a major museum of contemporary art.