Bob Dylan - The Beaten Path

First published in Great Britain in 2016 by

Halcyon Gallery 144–146 New Bond Street Mayfair, London W1S 2PF +44 (0)20 7100 7144 info@halcyongallery.com www.halcyongallery.com

Copyright © 2016 Halcyon Gallery All works copyright © 2016 Bob Dylan Foreword copyright © 2016 Bob Dylan

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission in writing from the publisher.

Publisher: Carlotta Cooper Designer: Egberto Esmerio Editor: Ursula Payne Research Assistant: Sarah Reeve

Reprographic services: Alliance Graphics and Alfie Hunter, Halcyon Gallery

Printed in Italy by D’Auria Printing

ISBN: 978–1–907849–39–8

Front cover: Endless Highway 1 (detail), 2015–2016 Acrylic on canvas Full image 71.1 x 121.9 cm | 28 x 48 in Signed Endpapers: Endless Highway (detail), 2015–2016 Pencil on paper Full image 27.9 x 34.3 cm | 11 x 13½ in Signed

pp. 4–5: South Hampton, New York, 2 (detail), 2015–2016 Acrylic on canvas Full image 121.9 x 91.4 cm | 48 x 36 in Signed p. 8: Nowhere and Anywhere (detail), 2015–2016 Watercolour on paper Full image 74.3 x 121.3 cm | 29¼ x 47 in Signed

p. 12: San Pedro Night (detail), 2015–2016 Watercolour on paper Full image 39.4 x 61 cm | 15½ x 24 in Signed

Measurements indicate original paper size; reproductions of some artworks have had the blank edges cropped for the sake of clarity

CONTENTS

9 FOREWORD BY BOB DYLAN 13 THE BEATEN PATH

359 BIOGRAPHY

362 LIST OF WORKS

373 CREDITS

‘The works were done from real life, literature, films, songs, poems and poetry and a certain outlook all scrambled together in one form or another.’

BOB DYLAN

BOB DYLAN FOREWORD

In 1974 I played the first of many shows with The Band – maybe in eight years. We were in a hockey arena in Chicago. There were maybe 18,000 people there. The Band and I hadn’t played publicly together since 1966 where our shows caused a lot of disruption and turmoil – a lot of anger. Now we were in Chicago starting up again. There was no way to predict what was going to happen. At the end of the concert we had played over 25 or 30 songs and we were standing on the stage looking out. The audience was in semi-darkness. All of a sudden, somebody lit a match. And then somebody else lit another match. In short time, there were areas of the arena that were engulfed in matches. Within seconds after that, it looked like the whole arena was in flames and that all the people in the arena had struck matches and were going to burn the place down. The Band and I looked for the nearest stage exit as none of us wanted to go down in flames. It seemed like nothing had changed. If we thought the response was extreme on the earlier tours we played, this was positively apocalyptic. Every one of us on the stage thought that we’d really done it this time – that the fans were going to burn the arena down. Obviously we were wrong. We misinterpreted and misunderstood the reaction of the crowd. What we believed to be disapproval was actually a grand appreciative gesture. Appearances can be deceiving. For this series of paintings the idea was to create pictures that would not be misinterpreted or misunderstood by me or anybody else. When the Halcyon Gallery brought the idea of me doing American landscapes for an exhibition, all they had to do was say it once. And after a bit of clarification, I took it to heart and ran with it. The common theme of these works having something to do with the American landscape – how you see it while crisscrossing the land and seeing it for what it’s worth. Staying out of the mainstream and traveling the back roads, free born style. I believe that the key to the future is in the remnants of the past. That you have to master the idioms of your own time before you can have any identity in the present tense. Your past begins the day you were born and to disregard it is cheating yourself of who you really are. My idea was to keep things simple, only deal with what is externally visible. These paintings are up to the moment realism – archaic, most static, but quivering in appearance. They contradict the modern world. However, that’s my doing. The San Francisco Chinatown street stands merely two blocks away from corporate, windowless buildings. But these cold giant structures have no meaning for me in the world that I see or choose to see or be a part of or gain entrance to. If you look half a block away from the Coney Island hotdog stand, the sky is littered with high rises. I choose not to see them either. Down the road, across the highway from the Cabin in the Woods is a manicured golf course. But it has little meaning compared to the seemingly worthless shack which speaks to me. The Alabama Side Show is surrounded by woods in all directions. The side show happens to be in a clearing and you go there by dirt road. I chose to paint the side show instead of the endless woods. There are countless other works where this is also true.

9

All the iconography is used in a semi-conscious way. I chose images because of the meanings they have for me and patterns can be seen in the repeating images – roads, shacks, piers, automobiles, streets, bayous, railroad tracks, bridges, motels, truck stops, power lines, farmyards, theater marquees, churches, signs and symbols, etc. – all establishing a certain type of compositional value. I would say the purpose is plain, non-experimental or exploratory. Some of these works have much complexity of detail. Some are less demanding … in some cases my hand couldn’t do what my eye was perceiving. So I went to the camera obscura method. The camera obscura was a primitive camera invented in the 1600s which projected an image upside down so the painter could work from it. This was a real camera but the image was not printable. It could only be seen and filled in. Caravaggio used this in about all of his paintings and so did Van Eyck and Vermeer. These days you don’t have to go to all that trouble. You can use a real camera. I put a 58 mm 0.43x wide-angle conversion lens onto a used Nikon D3300 Af-p on quite a few paintings, Downtown Bank, Katz’s, Nathans, Russ & Daughters, Roy’s, Blue Line among others and was able to get the desired effect. If that didn’t work, I used a convex Plexiglass RCA 24 x 20 television screen that can be found in old junk shops and looked at the world through that. On Curry Road in Arizona, I used an old movie frame and I did that on a couple of different paintings, too. In just as many others I drew it straight on. Topanga Ranch, Ice Cream Factory, Truck Stops, Flat Top Mt. Diner and Del Rio Cantina. The method with the particular altered lens was used for fullness of effect. In a lot of the other cases, all I needed was a straight edge, compass and a T-Square going on a case by case basis without abandoning tradition or adhering to any conventions or aesthetic doctrines. The watercolors and acrylics done here purposely show little or no emotion, yet I would say they are not necessarily emotionally stringent. The attempt was made to represent reality and images as they are without idealizing them. My idea is to compose works that create stability, working with generalized, universal and easily identifiable objects. Throughout there is the attempt to depict scenes of life and inanimate life for their own sake (Ice Cream Shack, Arcade, Threatening Skies). Da Vinci paints a blurred picture – you see no lines but clouds that fade into one another with different color schemes. An opposing view would be Mondrian and Van Gogh with strict lines that define the volumes of space. In the middle somewhere would be Kandinsky and Rouault. And these paintings would probably fall into that category. An attempt was made to depersonalize the works – strip them of illusion. All the work is exclusively placed in non-exotic settings within a rationally defined space. The focus points are important and sometimes unusually placed. Background and foreground not easily defined. In Amusement Park Alleyway, the focus point is the Ferris wheel in the background. The orange Chevy truck might be centered in the foreground but it’s not the focal point. In Morning in Pittsburgh, the focal point would be the bridge in the background instead of the larger warehouse in the foreground. Just like in the Flat Top Diner, the focal point might actually be the green trees.

10

I tried to create the two dimensional image using a mathematical system. At times, the background and foreground converge. Natural scenery is always the main feature. These are not crowded compositions. They are using basic structures to express feelings and ideas. Perfect proportion and logic instead of emotion. The nature of beauty, the lines, forms, shape and texture that emphasize the recognizable create harmony where natural scenery is the main feature. I restricted myself to traditional subject matter viewing nothing as shallow or gaudy. A simple hotdog stand can have classical features and I view it as such (Donut Shop, High Wire). Whiplash curves, flying buttresses, pointed steeples, arches and waves. They are all there, reflecting any time period, purposely trying to stay away from dramatic or theatrical lighting effects, bringing naturalism to the forefront. In some paintings, the brightness of reflected light was brought forth in evident brushstrokes. Sometimes sunlight hitting certain places would contrast deeply with areas of shadow (Sunset on the Prairie, Threatening Skies). I tried to avoid skewed perspectives or manmade light, yet sometimes it couldn’t be avoided. An expert painter is a master in color theory, which means he can turn white into black using a complex value system of colors and hues like a Mark Rothko. The Beaten Path however, reflects explorations in color, sometimes using colors that become less pronounced and outlines that become less precise. Other times tipping towards the monochromatic (Oil Rigger’s Shack, Twilight After Dusk). Flowing or curved lines form another visual vehicle, suggesting a far distance in a landscape painting. Architecture itself is always a vital source of ideas and inspiration but always, The Beaten Path tries to return to the traditional methods of perceptions – things that are perceived in the visible world – taking the three dimensional into a two dimensional format using contrast, location, isolation and convergence. If there is a soundtrack to this compilation of paintings, I would say it could be recordings by Peetie Wheatstraw in some places, Charlie Parker in others, Clifford Brown or Blind Lemon, maybe Guitar Slim – artists that make us a lot bigger when listening to them. It would have to be that way. Absolutely. There was a conscious attempt to dismiss consumer culture or popular culture, including mass media, commercial art, celebrities, consumer or product packaging, billboard signs, comic strips, magazine advertising. The Beaten Path works represent a different subject matter from the everyday imagery of consumer culture. There is nothing to suggest these paintings were inspired by the writings of Sigmund Freud or that they were based on any mental images that occur in dreams, no fantasy worlds, religious mysticism or ambiguous subject matter. In every picture the viewer doesn’t have to wonder whether it’s an actual object or a delusional one. If the viewer visited where the picture actually existed, he or she would see the same thing. It is what unites us all.

11

THE BEATEN PATH

14

Abandoned Motel, Eureka , 2015–2016. Pencil on paper, 43.2 x 35.6 cm | 17 x 14 in. Signed

15

Abandoned Motel, Eureka , 2015–2016. Watercolour on paper, 91.8 x 65.4 cm | 36 1 / 8 x 25¾ in. Signed

16

Abandoned Railroad Track , 2015–2016. Pencil on paper, 27.9 x 34.3 cm | 11 x 13½ in. Signed

17

Abandoned Railroad Track , 2015–2016. Watercolour on paper, 48.3 x 61 cm | 19 x 24 in. Signed

‘It looked like the last stop on the train to nowhere.’

BOB DYLAN

18

19

Abandoned Railroad Track , 2015–2016. Acrylic on canvas, 91.4 x 121.9 cm | 36 x 48 in. Signed

22

Albuquerque, New Mexico , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

23

Albuquerque, New Mexico , 2015–2016. Watercolour on paper, 40 x 61 cm | 15¾ x 24 in. Signed

24

Amusement Park Alleyway , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

25

Amusement Park Alleyway , 2015–2016. Watercolour on paper, 40 x 61 cm | 15¾ x 24 in. Signed

26

27

Amusement Park Alleyway , 2015–2016. Acrylic on canvas, 68.6 x 121.9 cm | 27 x 48 in. Signed

28

Back Bay, Boston , 2015–2016. Pencil on paper, 43.5 x 35.6 cm | 17 1 / 8 x 14 in. Signed

29

Back Bay, Boston , 2015–2016. Watercolour on paper, 60.6 x 47 cm | 23 7 / 8 x 18½ in. Signed

30

Bandera, Texas , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

31

Bandera, Texas , 2015–2016. Watercolour on paper, 42.9 x 61 cm | 16 7 / 8 x 24 in. Signed

‘Whither goest thou, America, in thy shiny car in the night?’

JACK KEROUAC

32

34

Bank Building, Lower Manhattan , 2015–2016. Pencil on paper, 35.6 x 43.5 cm | 14 x 17 1 / 8 in. Signed

35

Bank Building, Lower Manhattan , 2015–2016. Watercolour on paper, 91.4 x 121.3 cm | 36 x 47¾ in. Signed

36

Blue Line Motel, Eureka , 2015–2016. Pencil on paper, 43.2 x 35.6 cm | 17 x 14 in. Signed

37

Blue Line Motel, Eureka , 2015–2016. Watercolour on paper, 61 x 43.8 cm | 24 x 17¼ in. Signed

38

Brooklyn Heights , 2015–2016. Pencil on paper, 35.6 x 43.5 cm | 14 x 17 1 / 8 in. Signed

39

Brooklyn Heights , 2015–2016. Watercolour on paper, 47 x 61 cm | 18½ x 24 in. Signed

Cabin in the Woods, Upstate New York , 2015–2016. Pencil on paper, 27.9 x 34.3 cm | 11 x 13½ in. Signed

40

Cabin in the Woods, Upstate New York , 2015–2016. Watercolour on paper, 38.1 x 61 cm | 15 x 24 in. Signed

41

42

Cabin in the Woods, Upstate New York , 2015–2016. Acrylic on canvas, 68.6 x 121.9 cm | 27 x 48 in. Signed

43

Car Wash, East LA , 2015–2016. Pencil on paper, 41.9 x 35.6 cm | 16½ x 14 in. Signed

44

Car Wash, East LA , 2015–2016. Watercolour on paper, 61 x 43.8 cm | 24 x 17¼ in. Signed

45

46

Chinatown, San Francisco , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

47

Chinatown, San Francisco , 2015–2016. Watercolour on paper, 43.2 x 60.6 cm | 17 x 23 7 / 8 in. Signed

48

Clam Bar, Surf Avenue , 2015–2016. Pencil on paper, 35.6 x 43.5 cm | 14 x 17 1 / 8 in. Signed

Clam Bar, Surf Avenue , 2015–2016. Watercolour on paper, 84.5 x 121.3 cm | 33¼ x 47¾ in. Signed

49

Classic Car Show, Cleveland, Ohio , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

50

51

Classic Car Show, Cleveland, Ohio , 2015–2016. Watercolour on paper, 39 x 61 cm | 15 3 / 8 x 24 in. Signed

‘An attempt was made to depersonalize the works – strip them of illusion.’

BOB DYLAN

52

53

Classic Car Show, Cleveland, Ohio , 2015–2016. Acrylic on canvas, 71.1 x 121.9 cm | 28 x 48 in. Signed

54

Clothesline, Gainesville, Georgia , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

55

Clothesline, Gainesville, Georgia , 2015–2016. Watercolour on paper, 85.4 x 122.6 cm | 33 5 / 8 x 48¼ in. Signed

Colorado Truck Stop , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

56

57

Colorado Truck Stop , 2015–2016. Watercolour on paper, 39 x 61 cm | 15 3 / 8 x 24 in. Signed

Courtesy Coffee Shop, Walnut Creek , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

58

59

Courtesy Coffee Shop, Walnut Creek , 2015–2016. Watercolour on paper, 70.8 x 91.4 cm | 27 7 / 8 x 36 in. Signed

Crosses , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

62

Crosses , 2015–2016. Watercolour on paper, 40 x 61 cm | 15¾ x 24 in. Signed

63

Curry Road, Tempe, Arizona , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

64

Curry Road, Tempe, Arizona , 2015–2016. Watercolour on paper, 43.2 x 61 cm | 17 x 24 in. Signed

65

Del Rio , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

66

67

Del Rio , 2015–2016. Watercolour on paper, 47.9 x 61 cm | 18 7 / 8 x 24 in. Signed

‘The evening star must be drooping and shedding her sparkler dims on the prairie, which is just before the coming of complete night that blesses the earth, darkens all rivers, cups the peaks and folds the final shore in.’

JACK KEROUAC

68

Devil’s Museum, Arizona , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

70

71

Devil’s Museum, Arizona , 2015–2016. Watercolour on paper, 39.4 x 61 cm | 15½ x 24 in. Signed

Dix River Bridge, Kentucky , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

72

73

Dix River Bridge, Kentucky , 2015–2016. Watercolour on paper, 39 x 61 cm | 15 3 / 8 x 24 in. Signed

Donut Shop , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

74

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Donut Shop , 2015–2016. Watercolour on paper, 43.5 x 61 cm | 17 1 / 8 x 24 in. Signed

‘A real building is one on which the eye can light and stay lit.’

EZRA POUND

76

Donut Shop , 2015–2016. Acrylic on canvas, 83.8 x 121.9 cm | 33 x 48 in. Signed

77

80

Drugstore , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

81

Drugstore , 2015–2016. Watercolour on paper, 37.5 x 61 cm | 14¾ x 24 in. Signed

East 7th Street, Rainy Night , 2015–2016. Pencil on paper, 41.9 x 35.6 cm | 16½ x 14 in. Signed

84

85

East 7th Street, Rainy Night , 2015–2016. Watercolour on paper, 61 x 37.2 cm | 24 x 14 5 / 8 in. Signed

East 7th Street, Rainy Night, 2015–2016. Acrylic on canvas, 121.9 x 71.1 cm | 48 x 28 in. Signed

87

East LA Arcade , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

88

89

East LA Arcade , 2015–2016. Watercolour on paper, 42.9 x 61 cm | 16 7 / 8 x 24 in. Signed

‘Who digs Los Angeles IS Los Angeles!’

ALLEN GINSBERG

90

East LA Arcade , 2015–2016. Acrylic on canvas, 137.2 x 213.4 cm | 54 x 84 in. Signed

91

East LA Side Street , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

92

East LA Side Street , 2015–2016. Watercolour on paper, 44.5 x 61 cm | 17½ x 24 in. Signed

93

‘Roads no longer merely lead to places; they are places.’

JOHN BRINCKERHOFF JACKSON

94

East LA Side Street , 2015–2016. Acrylic on canvas, 91.4 x 121.9 cm | 36 x 48 in. Signed

95

98

Endless Highway , 2015–2016. Pencil on paper, 27.9 x 34.3 cm | 11 x 13½ in. Signed

99

Endless Highway , 2015–2016. Watercolour on paper, 38.1 x 61 cm | 15 x 24 in. Signed

‘My destiny lay down the road with whatever life invited, had nothing to do with representing any kind of civilization. Being true to yourself, that was the thing.’

BOB DYLAN

100

Endless Highway 1 , 2015–2016. Acrylic on canvas, 71.1 x 121.9 cm | 28 x 48 in. Signed

101

102

Endless Highway 2 , 2015–2016. Acrylic on canvas, 121.9 x 213.4 cm | 48 x 84 in. Signed

103

104

Endless Highway 3 , 2015–2016. Acrylic on canvas, 182.9 x 320 cm | 72 x 126 in. Signed

105

108

Entrance Gates, Coney Island , 2015–2016. Pencil on paper, 35.6 x 43.5 cm | 14 x 17 1 / 8 in. Signed

109

Entrance Gates, Coney Island , 2015–2016. Watercolour on paper, 94.6 x 121.6 cm | 37¼ x 47 7 / 8 in. Signed

Eureka, Broad Daylight , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

112

113

Eureka, Broad Daylight , 2015–2016. Watercolour on paper, 62.2 x 101.9 cm | 24½ x 40 1 / 8 in. Signed

114

Fishing Supply Store , 2015–2016. Pencil on paper, 35.6 x 43.5 cm | 14 x 17 1 / 8 in. Signed

Fishing Supply Store , 2015–2016. Watercolour on paper, 88.9 x 121.3 cm | 35 x 47¾ in. Signed

115

Flat Top Mt. Diner, Tennessee , 2015–2016. Pencil on paper, 27.9 x 34.3 cm | 11 x 13½ in. Signed

116

Flat Top Mt. Diner, Tennessee , 2015–2016. Acrylic on canvas, 76.2 x 121.9 cm | 30 x 48 in. Signed

117

Flatbush Avenue, Brooklyn , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

120

121

Flatbush Avenue, Brooklyn , 2015–2016. Watercolour on paper, 42.9 x 61 cm | 16 7 / 8 x 24 in. Signed

Florida Country , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

124

Florida Country , 2015–2016. Watercolour on paper, 43.2 x 61 cm | 17 x 24 in. Signed

125

‘Like the hotel, [the motel] is a simulated version of home, and self-confessedly transient.’

SALLY BAYLEY

126

127

Florida Country , 2015–2016. Acrylic on canvas, 81.3 x 121.9 cm | 32 x 48 in. Signed

128

Green River, Wyoming , 2015–2016. Pencil on paper, 27.9 x 34.3 cm | 11 x 13½ in. Signed

129

Green River, Wyoming , 2015–2016. Watercolour on paper, 49.2 x 61 cm | 19 3 / 8 x 24 in. Signed

‘It seemed I’d always been chasing after something, anything that moved – a car, a bird, a blowing leaf – anything that might lead me into some more lit place, some unknown land downriver.’

BOB DYLAN

130

Green River, Wyoming , 2015–2016. Acrylic on canvas, 91.4 x 121.9 cm | 36 x 48 in. Signed

131

132

H Street, Washington, DC , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

133

H Street, Washington, DC , 2015–2016. Watercolour on paper, 41.9 x 61 cm | 16½ x 24 in. Signed

134

H Street, Washington, DC , 2015–2016. Acrylic on canvas, 76.2 x 121.9 cm | 30 x 48 in. Signed

135

Heavenly Bright Light, New Mexico , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

136

Heavenly Bright Light, New Mexico , 2015–2016. Watercolour on paper, 71.1 x 91.4 cm | 28 x 36 in. Signed

137

Hideaway Motel , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

138

139

Hideaway Motel , 2015–2016. Watercolour on paper, 32.7 x 61 cm | 12 7 / 8 x 24 in. Signed

Highwire , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

140

Highwire , 2015–2016. Watercolour on paper, 44.5 x 61 cm | 17½ x 24 in. Signed

141

Holbrook, Arizona , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

142

143

Holbrook, Arizona , 2015–2016. Watercolour on paper, 43.5 x 61 cm | 17 1 / 8 x 24 in. Signed

‘In the twentieth century, the American motel serves the ever-extendable geography of the roadside.’

SALLY BAYLEY

144

Holbrook, Arizona , 2015–2016. Acrylic on canvas, 81.3 x 121.9 cm | 32 x 48 in. Signed

145

Holloway Alley, Buffalo, New York , 2015–2016. Pencil on paper, 27.9 x 34.3 cm | 11 x 13½ in. Signed

148

Holloway Alley, Buffalo, New York , 2015–2016. Watercolour on paper, 41.9 x 61 cm | 16½ x 24 in. Signed

149

‘[The street] cuts through the less opulent parts of town, the block after block of silent, nondescript houses like the houses in every other American city. It goes through the tree-grown suburbs and parallels the complex of warehouses and parking lots and industrial plants until at last it turns into an interstate highway, heading into the dark and featureless countryside. ‘The highway never seems to end.’

JOHN BRINCKERHOFF JACKSON

150

Holloway Alley, Buffalo, New York , 2015–2016. Acrylic on canvas, 81.3 x 121.9 cm | 32 x 48 in. Signed

151

Ice Cream Shack , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

152

Ice Cream Shack , 2016. Watercolour on paper, 40 x 61 cm | 15¾ x 24 in. Signed

153

154

Kentucky Pathway , 2015–2016. Pencil on paper, 27.9 x 34.3 cm | 11 x 13½ in. Signed

155

Kentucky Pathway , 2015–2016. Watercolour on paper, 44.5 x 61 cm | 17½ x 24 in. Signed

‘Nothing behind me, everything ahead of me, as is ever so on the road.’

JACK KEROUAC

156

Kentucky Pathway , 2015–2016. Acrylic on canvas, 88.9 x 121.9 cm | 35 x 48 in. Signed

157

158

Kingman, Arizona , 2015–2016. Pencil on paper, 43.2 x 35.6 cm | 17 x 14 in. Signed

159

Kingman, Arizona , 2015–2016. Watercolour on paper, 109.2 x 78.4 cm | 43 x 30 7 / 8 in. Signed

162

Late in the Day, Houston Street , 2015–2016. Pencil on paper, 35.6 x 43.5 cm | 14 x 17 1 / 8 in. Signed

Late in the Day, Houston Street , 2015–2016. Watercolour on paper, 108.6 x 109.2 cm | 42¾ x 43 in. Signed

163

‘Holy the solitudes of skyscrapers and pavements! Holy the cafeterias filled with the millions!’

ALLEN GINSBERG

164

Lighthouse in Maine , 2015–2016. Pencil on paper, 27.9 x 34.3 cm | 11 x 13½ in. Signed

166

Lighthouse in Maine , 2015–2016. Watercolour on paper, 45.7 x 61 cm | 18 x 24 in. Signed

167

‘[The American poet’s] spirit responds to his country’s spirit … he incarnates its geography and natural life and rivers and lakes … The blue breadth over the inland sea of Virginia and Maryland and the sea off Massachusetts and Maine … is not tallied by the blue breadth of the waters below more than the breadth of above and below is tallied by him. When the long Atlantic coast stretches longer and the Pacific coast stretches longer he easily stretches with them north or south. He spans between them also from east to west and reflects what is between them.’

WALT WHITMAN

168

Lighthouse in Maine , 2015–2016. Acrylic on canvas, 86.4 x 121.9 cm | 34 x 48 in. Signed

169

172

Little Factory for Ice Cream , 2015–2016. Pencil on paper, 35.6 x 43.5 cm | 14 x 17 1 / 8 in. Signed

173

Little Factory for Ice Cream , 2015–2016. Watercolour on paper, 86.7 x 121.3 cm | 34 1 / 8 x 47¾ in. Signed

174

Little Italy, Lower Manhattan , 2015–2016. Pencil on paper, 35.6 x 43.5 cm | 14 x 17 1 / 8 in. Signed

175

Little Italy, Lower Manhattan , 2015–2016. Watercolour on paper, 99.4 x 121.3 cm | 39 1 / 8 x 47¾ in. Signed

Live Oak, Florida , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

176

Live Oak, Florida , 2015–2016. Watercolour on paper, 46.4 x 76.2 cm | 18¼ x 30 in. Signed

177

Live Oak, Florida , 1 , 2015–2016. Acrylic on canvas, 61 x 121.9 cm | 24 x 48 in. Signed

178

Live Oak, Florida , 2 , 2015–2016. Acrylic on canvas, 61 x 121.9 cm | 24 x 48 in. Signed

179

Louisiana Bayou , 2015–2016. Pencil on paper, 35.6 x 41.9 cm | 14 x 16½ in. Signed

180

Louisiana Bayou , 2015–2016. Watercolour on paper, 43.2 x 61 cm | 17 x 24 in. Signed

181

182

Manhattan Bridge, Downtown New York , 2015–2016. Pencil on paper, 35.6 x 43.5 cm | 14 x 17 1 / 8 in. Signed

183

Manhattan Bridge, Downtown New York , 2015–2016. Watercolour on paper, 89.2 x 121.3 cm | 35 1 / 8 x 47¾ in. Signed

186

Metairie, Argonne Street , 2015–2016. Pencil on paper, 27.9 x 34.3 cm | 11 x 13½ in. Signed

187

Metairie, Argonne Street , 2015–2016. Watercolour on paper, 40.6 x 50.5 cm | 16 x 19 7 / 8 in. Signed

188

189

Metairie, Argonne Street , 2015–2016. Acrylic on canvas, 61 x 121.9 cm | 24 x 48 in. Signed

Midnight Caller , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

190

Midnight Caller , 2015–2016. Watercolour on paper, 43.2 x 61 cm | 17 x 24 in. Signed

191

192

Morning in Pittsburgh , 2015–2016. Pencil on paper, 35.6 x 43.5 cm | 14 x 17 1 / 8 in. Signed

Morning in Pittsburgh , 2015–2016. Watercolour on paper, 41.9 x 61 cm | 16½ x 24 in. Signed

193

Motel, New Mexico , 2015–2016. Pencil on paper, 35.6 x 43.2 cm | 14 x 17 in. Signed

196

197

Motel, New Mexico , 2015–2016. Watercolour on paper, 85.1 x 121 cm | 33½ x 47 5 / 8 in. Signed

198

Myrtle Avenue, Brooklyn , 2015–2016. Pencil on paper, 35.6 x 43.5 cm | 14 x 17 1 / 8 in. Signed

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