2010
Somebody’s Gotta Take Over the History Department Someday
flashe and acrylic on canvas
2010
8 x 10 inches
price on request
from Who’s Afraid of Virginia Woolf? 1966
Director: Mike Nichols
Cinematography: Haskell Wexler
As Nick walks back into the room, Martha has just learned he is in the biology department at the University, not the math department as she thought. She then continues goading George, saying ”God knows somebody’s gotta take over the history department someday and it ain’t gonna be Georgy boy over there that’s for sure.” Meanwhile, Honey takes a sip from her drink, made nervous by Martha’s accusations and still recovering from George taking a realistic-looking toy gun out and pretending to shoot Martha with it, an umbrella popping out of the barrel.
Who's Afraid of Virginia Woolf (closeup)
flashe and acrylic on canvas
2010
8 x 10 inches
price on request
from Who’s Afraid of Virginia Woolf? 1966
Director: MIke Nichols
Cinematography: Haskell Wexler
Just Don't Toot Your Mouth Off part 2
flashe and acrylic on canvas
2010
8 x 10 inches
price on request
from Who’s Afraid of Virginia Woolf? 1966
Director: MIke Nichols
Cinematography: Haskell Wexler
After the ”euphemism” incident, Martha leads Honey to the bathroom. She repeatedly says to George “You really burn me up”. George counters brusquely, “Just don’t toot your mouth off about you know what.” This “you know what” is not yet been revealed to us. Martha responds “I’ll talk about any goddamn thing I want too, any goddamn thing I want.” Not do we see more of the abusive nature of their relationship, but also that some secret lies behind it.
Somebody's Gotta Take Over The History Department Someday (closeup)
flashe and acrylic on canvas
2010
10 x 8 inches
price on request
from Who’s Afraid of Virginia Woolf? 1966
Director: MIke Nichols
Cinematography: Haskell Wexler
As Nick walks back into the room, Martha has just learned he is in the biology department at the University, not the math department as she thought. She then continues goading George, saying ”God knows somebody’s gotta take over the history department someday and it ain’t gonna be Georgy boy over there that’s for sure.” Meanwhile, Honey takes a sip from her drink, made nervous by Martha’s accusations and still recovering from George taking a realistic-looking toy gun out and pretending to shoot Martha with it, an umbrella popping out of the barrel.
That's Sort of Blood Under The Bridge (closeup)
flashe and acrylic on canvas
2010
10 x 8 inches
price on request
from Who’s Afraid of Virginia Woolf? 1966
Director: MIke Nichols
Cinematography: Haskell Wexler
At the dance club where the two couples remain the only inhabitants, Martha tells their guests about George’s novel and how her father had knocked it down. George responds, “But that’s blood under the bridge,” and announces they should play his game of “get the guests.” He then retells the story Nick had told him in confidence about his own marriage, how he had married Honey because of an hysterical pregnancy, and because her family had money.
Will You Show Her Where we Keep the Euphemism?
flashe and acrylic on canvas
2010
10 x 8 inches
price on request
from Who’s Afraid of Virginia Woolf? 1966
Director: MIke Nichols
Cinematography: Haskell Wexler
Near the beginning of the film, when the guests have finally arrived, Martha and George have their first fight in front of the young couple which continues throughout the film. Some of the fighting stems from Martha’s dissapointment that George hasn’t made it further up the academic ladder, as opposed to her father, the president of the university. She proclaims that relationship is “an extraordinary opportunity” for George, that “some men would give their right arm for the chance.” George replies “Alas Martha, in reality it works out that the sacrifice is of a somewhat more private portion of the anatomy.“ Uncomfortable at this excahnge, Honey jumps up and declares she needs to find the restroom. George replies, “Martha, will you show her where we keep the euphemism.”
You're Looking For a Punch in the Mouth
flashe and acrylic on canvas
2010
8 x 10 inches
price on request
from Who’s Afraid of Virginia Woolf? 1966
Director: MIke Nichols
Cinematography: Haskell Wexler
After the couples leave George and Martha’s house they go to an empty dance bar . They play the jukebox and continue to drink excessively. Martha dances with Nick, and while they are dancing she tells him about George’s novel. The novel is about a boy who accidentally kills his mother and father. Martha tells Nick how her father had threatened to dismiss George from the school if he published it, and that George had responded that it is not just a novel, but a story about George himself. George, sitting at a table with Honey, overhears Martha talking to Nick and yells “You’re looking for a punch in the mouth.” As Martha continues telling the story, Honey yells “Violence, violence!”
Bourbon on The Rocks If You Don’t Mind
flashe and acrylic on canvas
2010
10 x 8 inches
price on request
from Who’s Afraid of Virginia Woolf? 1966
Director: MIke Nichols
Cinematography: Haskell Wexler
When Nick and Honey first arrive at George and Martha’s, they are invited to have a drink. George asks’s what Honey would like first, and she asks for brandy, saying “Never mix, never worry.” Then George asks Nick, who replies “Bourbon on the rocks, if you don’t mind.” George replies “Mind, I don’t mind, I don’t think I mind.” George then jabs at Martha: “Martha, rubbing alcohol for you?” Setting the stage for what will follow.
Just Don't Toot Your Mouth Off
flashe and acrylic on canvas
2010
10 x 8 inches
price on request
from Who’s Afraid of Virginia Woolf? 1966
Director: MIke Nichols
Cinematography: Haskell Wexler
After the ‘euphemism’ incident, Martha leads Honey to the bathroom. She repeatedly says to George “You really burn me up”. George counters brusquely, “Just don’t toot your mouth off about you know what.” This “you know what” is not yet been revealed to us. Martha responds “I’ll talk about any goddamn thing I want too, any goddamn thing I want.” Not do we see more of the abusive nature of their relationship, but also that some secret lies behind it.
Try To Take Hold of Yourself
flashe and acrylic on canvas
2010
18 x 18 inches
price on request
from Eyes in The Night, 1942
Director: Fred Zinnemann
Cinematograhy: Charles Lawton Jr. and Robert H. Planck
You're Going Home
flashe and acrylic on dibond
2010
18 x 24 inches
price on request
from All Night Long, 1963
Director: Basil Dearden
Cinematography: Edward Scaife
We've Got Him Upstairs
flashe and acrylic on dibond
2010
24 x 18 inches
price on request
from Frenzy, 1972
Director: Alfred Hitchcock
Cinematography: Gilbert Taylor
Everyone Dies
flashe and acrylic on dibond
2010
9 x 12 inches
price on request
from The Caretakers, 1963
Director: Hal Bartlett
Cinematography: Lucien Ballard
I Never Rush You!
flashe and acrylic on dibond
2010
9 x 12 inches
price on request
from The Caretakers, 1963
Director: Hal Bartlett
Cinematography: Lucien Ballard
No!!!
flashe and acrylic on dibond
2010
9 x 12 inches
price on request
from The Caretakers, 1963
Director: Hal Bartlett
Cinematography: Lucien Ballard
One Way or Another
flashe and acrylic on dibond
2010
9 x 12 inches
price on request
from The Caretakers, 1963
Director: Hal Bartlett
Cinematography: Lucien Ballard
Gasp!
flashe and acrylic on dibond
2010
9 x 12 inches
price on request
from The Caretakers, 1963
Director: Hal Bartlett
Cinematography: Lucien Ballard
It's a Nightmare
flashe and acrylic on dibond
2010
9 x 12 inches
price on request
from The Caretakers, 1963
Director: Hal Bartlett
Cinematography: Lucien Ballard
You Did Say Your Clock Was Correct? (closeup)
flashe and acrylic on canvas
2010
16 x 20 inches
price on request
from From Russia With Love, 1963
Director: Terence Young
Cinematography: Ted Moore
Bond, shown on the right of the painting, asks a clerk at the Soviet consulate if his clock is correct, to which he replies “always.” He then asks him once more “Your Did Say Your Clock Was Correct?” replying once more “Russian clocks are always correct.” Immediately after a tear gas bomb goes off causing pandemonium. Bond was in on the explosion in order to steal a Lektor cryptographic machine, keeping it away from the bad guys. Bond runs directly to a train station to flee the scene.
You All Go In The Front Room and Enjoy Yourselves
flashe and acrylic on canvas
2010
16 x 20 inches
price on request
from Off Season (a Hitchcock Hour Presentation), 1965
Director: William Friedkin
Cinematography: John F. Warren
After dinner with his new boss, the new off season summer-town nightwatchman and his wife are excused from the table by the boss’s wife. The town sheriff and nightwatchman go into the living room where the nightwatchman asks about the previous nightwatchman, who he has met at a bar while on duty. The sherriff warns that the previous watchman had taken girls into the cottages during his shifts, and that he should be untrusted. The current nightwatchman’s wife is a waitress at a local cafe and is suspected by her husband of being unfaithful with her customers, most notably the previous nightwatchman. While on duty after these events, he sees that the previous guard is in fact in one of the houses with a girl, whom he suspects is his wife. Using his own gun, the nightwatchman shots the man. It turns out he was with the sheriff’s wife.
I Leave the House Lots of Times, For Weeks Sometimes
flashe and acrylic on canvas
2010
price on request
from Deadline, USA, 1952
Director: Richard Brooks
Cinematography: Milton R. Krasner
A suspect is being question about his whereabouts during the time of a crime.
It Really Depends How Much Money He Has
flashe and acrylic on canvas
2009
35 x 41
from Young and Innocent, 1937
Director: Alfred Hitchcock
Cinematography: Bernard Knowles
The family of a Police Chief sits at the dinner table discussing the murder mystery of a wealthy actress. The suspect is a man who meets the Chief’s daughter while he is trying to escape suspicion. The Chief’s family sit around the dinner table discussing the suspect, now a fugitive from the law. The daughter who is falling for the suspect unbeknownst to her family is sitting at the table, off the screen. Her brothers contemplate with their father how long it will be before the suspect is caught. The son on the left explains “it depends how much money he has.”
It's A Jolly Fine One
flashe and acrylic on canvas
2010
price on request
from Young and Innocent, 1937
Director: Alfred Hitchcock
Cinematography: Bernard Knowles
The family of a Police Chief sits at the dinner table before discussing the murder mystery of a wealthy actress. The young son of the chief sits with his brother talking about the gun they are playing with. An older son complains they shouldn’t be allowed to have a gun saying its “highly dangerous.” One of the younger boy says Chris can’t shoot straight anyways, whereupon Chris says “Can’t I, what about this?” holding up the rat he has successfully shot and killed proclaiming " It’s a Jolly Fine One!"
Next Time I'll Aim a Little Lower
fl ashe and acrylic on canvas
2010
47 x 83
price on request
from Bonnie and Clyde, 1967
Director: Arthur Penn
Cinematographer: Burnett Gu ey
This scene shows Gene Hackman as Buck Barrow , brother of Clyde Barrow, in the middle of a robbery. Clyde is off screen but he can be hear saying “Next time I’ll aim a little lower.” He is speaking to a security offi cer at the bank, who he then shoots near the head. Buck Barrow makes sure the officer knows who he is as they leave just after the scene.
Who's Afraid of Virginia Woolf: Closeups
flashe and acrylic on canvas
2010
9 canvases, each 8 inches by 10 inches
price on request
from Who’s Afraid of Virginia Woolf? 1966
Director: Mike Nichols
Cinematography: Haskell Wexler
This group of paintings are from the classic film Who’s Afraid of Virginia Woolf. The characters in the film suffer a unique kind of alienation, the focus of the film. A pair of couples unite for a dinner party, and eventually reveal via heavy drinking and consistent fighting a close underlying burgeoning of anger and resentment. Many threats by all parties in the film are made, no holds barred.
The Thing From Another World: Closeups
flashe and acrylic on canvas
2010
10 canvases, each 8 inches by 10 inches
price on request
from The Thing From Another World, 1951
Director: Christian Nyby
Cinematographer: Russell Harlan
This group of paintings are from the classic cult film The Thing From Another World. The film deals with the 1950’s fascination of aliens invading the earth. Scientists living in the arctic discover a buried frozen UFO. They unearth the pilot in a block of ice and soon after he accidentally thaws and “comes back to life.” The alien turns out to be a member of the plant family of carrots. It is then attempted to be killed by the means of cooking to prevent it from living by sucking the blood out of it’s predators – humans included.
This Floor Is Not Clean 2
archival inkjet print on paper
2010
dimensions variable
price on request
from Mommie Dearest
How Do You Know That
from the film Bell Book and Candle, 1958
Director: Richard Quine
Cinematography: James Wong Howe
Witch ‘Gil’ Holroyd discovers engaged Publisher ‘Shep’ Henderson. She puts a spell on him to fall in love with her and forget about his promise to marry his fiance. Sidney Redlitch is writing about witches in modern society. Here he tells Henderson where the witches headquarters are, and unknowingly informs him of his new love’s true identity.