Mark Ryden's Book by Tracy Rojas

MARK RYDEN’s Biography and Paitings

Back

Biography Blending 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.

Born January 20, 1963 (age 49) Medford, Oregon Field Paiter Training Art Center College of Design

Ryden’s vocabulary ranges from cryptic to cute, treading a fine line between nostalgic cliché 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

Back

subtle disquiet inhabits his paintings; the work is achingly beautiful as it hints at darker psychic stuff beneath the surface of cultural kitsch. In Ryden’s 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 Artist’s Museum” at the Museum of Contemporary Art in Los Angeles. He currently lives and works in L.A.

Biographie

Mark Ryden

The Gay 90’s Show

The Grinder Oil on canvas, 2010 Painting Size: 37 1/2 x 25 1/2 inches; 95.3 x 64.8 cm Framed: 56 x 32 x 3 1/2 inches; 142.2 x 81.3 x 8.9 cm

Back

Incarnation

Virgin and Child

Oil on panel, 2009 Painting Size: 72 x 48 inches; 182.9 x 121.9 cm Framed: 86 1/2 x 63 1/2 x 4 1/2 in; 219.7 x 161.3 x 11.4 cm

Oil on canvas, 2010 Painting Size: 24 x 18 inches; 61 x 45.7 cm Framed: 29 x 23 x 3 inches; 73.7 x 58.4 x 7.6 cm

Back

Play

Pause

Resume

Stop

The Piano Player

Pink Lincoln

Oil on canvas, 2010 Painting Size: 20 x 30 inches; 50.8 x 76.2 cm Framed: 29 x 39 x 3 inches; 73.7 x 99.1 x 7.6 cm

Oil on canvas, 2010 Painting Size: 22 x 16 inches; 55.9 x 40.6 cm Framed: 55 x 34 x 3 inches; 139.7 x 86.4 x 7.6 cm

Back

The Snow Yak Show

Back

Sophia’s Bubbles Oil on canvas, 2008 Painting Size: 30” x 90”

Long Yak Oil on canvas, 2008 Painting Size: 12” x 30”

Girl in a Fur Skirt

Snow Yak

Oil on canvas, 2008 Painting Size: 24” x 20”

Oil on panel, 2008 Painting Size: 11” x 15”

Back

Grotto of the Old Mass

Heaven

Oil on canvas, 2008 Painting Size: 24” x 36”

Oil on canvas, 2008 Painting Size: 16” x 20”

Abominable

Fur Girl

Oil on canvas, 2008 Painting Size: 20” x 16”

Oil on canvas, 2008 Painting Size: 30” x 20”

Back

The Tree Show

Yoshi Height: 36”, Width: 48” 2007 Oil on canvas

The Tree Show

Back

The Tree of Life

Allegory of the Four Elements

Height: 66”, Width: 42” 2006 Oil on canvas

Height: 28”, Width: 36” 2006 Oil on canvas

Logging Truck

Girl Eaten by Tree

Height: 12”, Width: 26”. 2006 Oil on canvas

Height: 12.75”, Width: 19.75” 2006 Oil on canvas

California Brown Bear

Fetal Trapping in Northern California

Ghost Girl

The Apology

Height: 20”, Width:16” 2006 Oil on canvas

Height: 9.25”, Width: 12.25” 2006 Oil on Canvas

Height: 20”, Width” 24” 2006 Oil on canvas

Height: 24”, Width: 32” 2006 Oil on canvas

Back

Pine Tree Nymph

Walnut Tree Nymph

White Oak Tree Nymph

Redwood Spirit 1

15” x 9.5” 2006 Oil on wood slab

7.5” x 6.5” 2006 Oil on wood slab

13.5” x 6.5” 2006 Oil on wood slab

14” x9.5” 2006 Oil on wood slab

Maple Tree Nymph

Oak Tree Nymph

Redwood Spirit 2

Walnut Spirit

14.5” x 15” 2006 Oil on wood slab

13” x 12” 2006 Oil on wood slab

10” x 10.5” 2006 Oil on wood slab

14.5” x 9” 2006 Oil on wood slab

Back

Bunnies & Bees

Essay by Mike McGee Publisher: Porterhouse Fine Art Editions / L.A, California 2001 “Tracing the Connection Between Bunnies, Bees and Abe Lincoln”

Back

Bunnies & Bees

Bunnies & Bees Exhibition

Bunnies & Bees Exhibition Book

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.

What is it that makes Mark Ryden’s 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 random and involved no conscious thought whatsoever. in 1924, when Andre Breton wrote the Surrealist Manifesto, the notion 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 Dali’s 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 doesn’t play the same today. In contemporary culture pure surrealism’s most common, and effective, use is as a strategy to achieve humor in movies. Ryden has trumped the initial surrealist

The Ringmaster

Little Boy Blue

Oil on Canvas, 2001 Painting Size: 20” x 28” Framed Size: 32” x 31”

Oil on Canvas, 2001 Painting Size: 20” x 20” Framed Size: 24” x 24”

Back

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 girl’s counterpart to the baby boy’s powder blue (another color Ryden likes to use), and it is half of the 1950s hipster combination pink-and-black. Things don’t get much better than they do when you’re “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

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.

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 Ryden’s 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 flatboatmanstorekeeper-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 Lincoln’s photograph aside a headshot photo of a Colonel Sanders statue. Colonel

The Magic Circus

Jessica’s Hope

Oil on Canvas, 2001 Painting Size: 40” x 60” Framed Size: 57” x 74”

Oil on Canvas, 2001 Painting Size: 12” x 14” Framed Size: 20” x 22”

Back

While Ryden is interested in the two men’s 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 weren’t an artist he might have been a mathematician or an engineer, Be it fame, quantum mechanics, the Freemason’s 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

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.

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.

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

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 Ryden’s interest in Bouguereau. In

Puella Animo Aureo

The Last Rabbit

Oil on Canvas, 2001 Painting Size: 18” x 36” Framed Size: 25” x 43”

Oil on Canvas, 2000 Painting Size: 19” x 23” Framed Size: 27” x 31”

Back

in many of Ryden’s paintings. Sophia’s mercurial waters features a classic odalisque pose; Sophia’s wanton direct gaze is a visual quote from Monet’s Olympia.

Stanford scholar Lorenz Eitner’s textbook on 19th century painting, he retells the story of a group of prominent French artists having dinner at a dealer’s 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 Bouguereau’s 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 Ryden’s 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, Neoclassical painters such as David, one of Ryden’s favorites, were noted for their shallow pictorial space, a device found

In his 1928 essay Le Surrealism et le peinture, André 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 child’s 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.”

Sophia’s Mercurial Waters

YHWH

Oil on Canvas, 2001 Painting Size: 21” x 25” Framed Size: 41” x 41”

Oil on Canvas, 2000 Painting Size: 10” x 14” Framed Size: 15” x 20”

Back

Ryden, who as a child would draw figures with a third eye, understands Breton’s 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

The Meat Show

Publisher: The Mendenhall Gallery Pasadena, California 1998

Back

The Meat Show

The Meat Show Exhibition Book

The Meat Show Exhibition Book Well, I have to admit I don’t really paint my paintings; a Magic Monkey does. He comes to my studio late at night, when it’s 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. I’ve 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 it’s 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. It’s 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

emSnow White Oil on Canvas, 1997 Painting Size: 48” x 72”

The Ox Suckling Romulus and Remus Oil on Panel, 1997 Painting Size: 20” x 28”

Christina

A Dog Named Jesus

Oil on Canvas, 1998 Painting Size: 17” x 10”

Oil on Panel, 1997 Painting Size: 11” x 17

Back

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. I’ve never seen my 4 year old son have a creative block; and his art is much more interesting than most adult’s 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, children’s 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 can’t 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.

The Pumpkin President Oil on Canvas, 1998 Painting Size: 40” x 60”

The Ecstacy of Cecelia Oil on Canvas, 1998 Painting Size: 26” x 31”

The Debutante

The Birth of Venus

Oil on Canvas, 1998 Painting Size: 28” x 14

Oil on Panel, 1998 Painting Size: 9” x 20”

Back

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

Princess Sputnik

Little Star

Oil on Canvas, 1998 Painting Size: 32” x 22”

Oil on Panel, 1997 Painting Size: 15” x 11”

Back

“BLOOD: Miniature Paintings of Sorrow and Fear” Juxtapoz Magazine : Chuck Amok Sept Oct 2003

Back

Blood

The Cloven Bunny

“BLOOD: Miniature Paintings of Sorrow and Fear” Mark Ryden has recently moved his infamous studio to the top of the famous, allegedly haunted, Castle Green hotel in Pasadena, California. I couldn’t wait to meet the mysterious Mr. Ryden; king of the current pop narrative movement the “Art World” can’t shake. I had so many questions I couldn’t wait to ask him, questions

The Baptism of Jajo 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”

he said to me, in a kind voice, and our interview began.

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

“Why blood?” I asked him. “Sometimes life can be very dark. I’ve 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 year’s time I lost some of the most important things in

Back

Lincoln’s Head 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

share with the world. I suppose most people are surprised, but I think the world would be a better place if more people didn’t hide their pain. We all have pain. It is comforting to know we are not alone in it. That’s 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

Fountain 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

Weeping to life, but that is natural. People in our culture think they shouldn’t 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,

Drips

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.”

“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 isn’t 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

Back

Night Visit 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 shouldn’t 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

didn’t want them huge and screaming blood. I didn’t feel like doing that. My intention was much more quiet and introspective. I wanted them to be more of a whisper.” “Blood usually can’t 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

Manus Christi 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 Stan’s music

Exhibitions

Wound 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. Ryden’s 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.

Back

Solo Exhibitions

Group Exhibitions

2010

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

2010

“Art Shack”, Laguna Art Museum, Laguna Beach, California

2009

“The Snow Yak Show”, Tomio Koyama Gallery , Tokyo, Japan

2009

“Naked”, Paul Kasmin Gallery, New York, NY

2007

“The Tree Show”, Michael Kohn Gallery, Los Angeles, California

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

2005

“Wondertoonel”, Pasadena Museum of California Art, Pasadena, California

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

2004

“Wondertoonel”, Frye Art Museum, Seattle, Washington

2003

2007

“Blood” Earl McGrath Gallery, Los Angeles, California “Insalata Mista” Mondo Bizzarro Gallery, Bologna, Italy

“Charity by Numbers”, Corey Helford Gallery, Culver City, CA “El rey de la casa” Institut de Cultura de Barcelona, Spain

2006

“Bunnies and Bees”, Grand Central Art Center, Santa Ana, California

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

2002

“Bunnies and Bees”, Grand Central Art Center, Santa Ana, California

2005

1998

“The Meat Show”, Mendenhall Gallery, Pasadena, California

“Au Pays de Merveilles” Galerie Magda Danysz, Paris, France

Back

2004

1999

“Innocence Found” DFN Gallery, New York, New York “100 Artists See Satan” Grand Central Art Center, Santa Ana, California “Age of Aquarius” Copro-Nason Gallery, Culver City, California “Modern Love” M Modern Gallery, Palm Springs, California “From Your Valentine” Copro-Nason Gallery, Culver City, California “Juxtapoz 10th Anniversary Show” 111 Minna Gallery, San Francisco, CA

“Group Show” Copro-Nason Gallery, Culver City, California “Six Forms of Love and Despair” Merry Karnowsky Gallery, Los Angeles, CA “Tiki Group Show” Huntington Beach Arts Center, Huntington Beach, CA “Invitational II” La Luz de Jesus Gallery, Los Angeles, California

W1998

2002

“Kittens’n’Kads” Merry Karnowsky Gallery, Los Angeles, California “Custom II” Acme Gallery, San Francisco, California “No Red Ribbons” Julie Rico Gallery, Santa Monica, California “Tribute to La Luz de Jesus” Track 16 Gallery, Los Angeles, California “Group Show” La Luz de Jesus Gallery, Los Angeles, California

“Hello” PressPop Gallery, Tokyo, Japan “Gods and Monsters” Roq La Rue Gallery, Seattle, Washington “Group Show” La Luz De Jesus Gallery, Los Angeles, California “Draw” Roq La Rue Gallery, Seattle, Washington “Von Dutch an American Original” Northridge Art Galleries, Northridge, CA.

2001

1997

“Representing LA, Pictorial Currents in Southern CA Arts” Frye Art Museum, Seattle, Washington “Representing LA, Pictorial Currents in Southern CA Arts” Laguna Art Museum, Laguna California “Group Show” La Luz De Jesus Gallery, Los Angeles, California

“Calivera Kustom” Merry Karnowsky Gallery, Los Angeles, California “The Secret Society of Dog Art” Random Gallery, Los Angeles, California

1996

“21st Century Tiki” La Luz de Jesus Gallery, Los Angeles, California

2000

1994

“Margaret Keane and Keaneabilia” Laguna Art Museum, Laguna Beach, California “Luck of the Draw” La Luz de Jesus Gallery, Los Angeles, California “Retrospective” Mendenhall Gallery, Pasadena, California “Invitational III” La Luz de Jesus Gallery, Los Angeles, California “Up From the Underground” Hollywood Arts & Culture Center, Hollywood,

“Side Show” Tamara Bane Gallery, Los Angeles, California

Back

MARK RYDENâ&#x20AC;&#x2122;s Biography and Paitings Interactive Version Available

Back

MARK RYDEN’s Biography and Paitings By Tracy Rojas Mesén Diagramación - IC-2012 Professor: Pablo Granados Universiad Creativa