Chris Mars' painting style, examples of which graced all of his album covers, is marked by nightmarish landscapes and grotesque, distorted figures. He draws inspiration from his older brother's struggle with schizophrenia.
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Gutsy in the most visceral way and moral in the highest sense of the word, Chris Mars holds nothing back in his painfully true illustrations of Monsters and Angels. These works require us to walk, single file and for as long as we can tolerate it, along the skinny path between terror and beauty. Well versed in the terrible sublime, Mars has disciplined himself to look hard at the slippage of worlds between sanity and insanity, fear and acceptance, and challenges us to do no less. The paintings, drawings and animations should come labeled "DANGER: EXTREME SELF-REFLECTION REQUIRED." -- Peter Spooner, Curator, Tweed Museum of Art, University of Minnesota Duluth
Chris Mars occupies two coveted realms in the art world. Being a consummate artist's artist, he's become a focal point and benchmark for legions of established and upcoming talent in the art world. Also, despite pushing illustrative work into the extremes of the surreal and abstract, he's also tapped into a visceral vein that draws in the erudite as well as the common man with little time for art theory. An envious position to straddle. Few achieve it, let alone with the pure intensity and uncompromising aesthetic ideals. Bottom line, whether his art is placed in the lofty museum halls of fine art, or in the back alley underground gallery, you'll be able to tell where Mars's work is hanging by seeing where the crowd is gathered in the room. -- Tom Hazelmyer, OX-OP/AmRep--HAZE XXL
Chris Mars's work is saturated with emotion. While we are immediately drawn to his remarkable representations--lovely, lush paint and scary storybook settings--it is the content that grabs us. His sad-eyed nightmare creatures look directly into our hearts. He overwhelms our discomfort and forces us to redefine humanity. -- John Vanco, Director, Erie Art Museum
Ferocious and lyrical. Chris Mars finds the complex beauty in those often seen as monsters and the monstrous quality of those perceived as beautiful. The consciousness of our own mortality, which lurks, hovers in our peripheral vision, is here made flesh. In his work, we see the true faces of people, stripped of all artifice. -- Jessica Joslin, Artist
The recent work of Chris Mars lies somewhere between the tongue-and-cheek humor of Richard Price and the debauchery of Hieronymus Bosch. His explorations into the pictorial effects and textural portraiture are spirited with an opening aperture into our own personal demons. Mars's work is a fresh return to honesty in contemporary art...no matter how far down the shadowed path they may take us. -- Michael J. Beam, Curator of Exhibitions and Collections, Castellani Art Museum
Chris Mars occupies two coveted realms in the art world. Being a consummate artist's artist, he's become a focal point and benchmark for legions of established and upcoming talent in the art world. Also, despite pushing illustrative work into the extremes of the surreal and abstract, he's also tapped into a visceral vein that draws in the erudite as well as the common man with little time for art theory. An envious position to straddle. Few achieve it, let alone with the pure intensity and uncompromising aesthetic ideals. Bottom line, whether his art is placed in the lofty museum halls of fine art, or in the back alley underground gallery, you'll be able to tell where Mars's work is hanging by seeing where the crowd is gathered in the room. -- Tom Hazelmyer, OX-OP/AmRep--HAZE XXL
Chris Mars's work is saturated with emotion. While we are immediately drawn to his remarkable representations--lovely, lush paint and scary storybook settings--it is the content that grabs us. His sad-eyed nightmare creatures look directly into our hearts. He overwhelms our discomfort and forces us to redefine humanity. -- John Vanco, Director, Erie Art Museum
Ferocious and lyrical. Chris Mars finds the complex beauty in those often seen as monsters and the monstrous quality of those perceived as beautiful. The consciousness of our own mortality, which lurks, hovers in our peripheral vision, is here made flesh. In his work, we see the true faces of people, stripped of all artifice. -- Jessica Joslin, Artist
The recent work of Chris Mars lies somewhere between the tongue-and-cheek humor of Richard Price and the debauchery of Hieronymus Bosch. His explorations into the pictorial effects and textural portraiture are spirited with an opening aperture into our own personal demons. Mars's work is a fresh return to honesty in contemporary art...no matter how far down the shadowed path they may take us. -- Michael J. Beam, Curator of Exhibitions and Collections, Castellani Art Museum
About the Author
He was the drummer for seminal Minneapolis, Minnesota alternative rock band The Replacements and later joined informal supergroup Golden Smog before launching a solo career. He is a talented painter, and has more or less left music behind to concentrate on showing his artwork.
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Most Helpful Customer Reviews
14 of 16 people found the following review helpful:
5.0 out of 5 stars
Dark and beautiful,
By
This review is from: Tolerance: The Art of Chris Mars (Hardcover)
From page one, it's awesome. I especially dug this disclaimer: This book was manufactured with respect for the environment, workers rights, and human rights. Let's give it up for socially-responsible art and commerce. Seriously.
Those of who are familiar with Mars' art already know that it's dark, dark, dark stuff. So the book is filled with that, but more than that (and my favorite part) are all kinds of, for lack of a better term, explanations about some of the paintings. I've never really been a fan of Mars' paintings. The darkness kind of scares me and makes me uncomfortable. But, after spending a few days with the book, looking at the pictures and reading the passages, I've decided that it's okay. Art is supposed to move us. It's not always that giddy, joyful sort of experience. Sometimes it is dark and uncomfortable, and that's okay too. Sometimes life is dark and uncomfortable. I was surprised by the political backdrop and tone of some of the paintings. I knew the story of Mars' brother and knew that a lot of his artistic inspiration sprung from that experience. There is a lot of that in this book, with explanations that will literally move you to tears. But, I think, the pieces that most affected me were the more politically-themed ones. The political was new to me, and because Mars' and I seem to have the same political leanings, I really liked those portions of the book. For instance, he writes this about his piece called "State of the Union: "The central figure is a disheartened, despondent Lady Liberty, who is being probed and prodded by shady practitioners who fail to comprehend her. She's been reduced and dons a warhead dunce cap. Some smugly endorsement her belittlement; some turn away. Others are aware, but feel confused and powerless. All this creates chaos; there is infighting. . . " it goes on, but you get the gist of it. I cannot deny that I am surprised my how much I am enjoying this book. I think you might too.
5 of 5 people found the following review helpful:
5.0 out of 5 stars
Stunning!,
This review is from: Tolerance: The Art of Chris Mars (Hardcover)
I've been a fan of Chris Mars the musician (his "old life") since the early 90s. I own all four of his post-Replacements solo CDs, and I still regularly listen to "Horseshoes and Hand Grenades" and "75% Less Fat." (The song "No More Mud" on the latter release even served as my gateway to "Cat's Cradle" and to Kurt Vonnegut in general.) But I have always especially admired the striking cover art on these CDs, drawn--for I believe much of his early work was with pastels--by Chris himself.
So even though I am usually only a casual patron of the visual arts, I was quite excited to learn that Chris had abandoned music to take up painting full time. Over the past decade, I've made a habit of visiting his website every year or two to admire his latest work. His superficially grotesque but highly sympathetic images of society's outcasts and his abiding empathy for the mentally ill are deeply moving to me. I cannot say it any better than Peter Spooner (in the editorial reviews above): "moral in the highest sense of the word." I've long wished I could afford to purchase one of Chris's amazing paintings. (But which one?!) And since the increasing recognition of his work over the past decade has outstripped any parallel growth in my earning power, this becomes less likely every year. So imagine my delight when I learned upon my latest visit that he had released an entire BOOK reproducing over 150 of his recent works! I ordered it immediately, and in the few days since I've spent several hours in rapt contemplation of the stunning images within. Most of his pieces are delightfully complex. In virtually every one I've studied so far I notice a multitude of details that simply aren't apparent online. I'm no expert, but his work seems technically superb to me: he has a strong sense of color and especially of lighting--some of the images just glow. And his recent work has become more overtly political while managing to remain deeply human. I realize that such a personal review might not be very helpful to anyone still on the fence about buying this book, but I am extremely grateful that Chris decided to release his work in this form. (Thanks, Chris!) I'm glad to see his art getting the recognition I think it deserves, but I am even happier that, through this book, many more people can have the opportunity to experience it first hand. It's an important body of work for sure, but it's also truly beautiful.
1 of 1 people found the following review helpful:
5.0 out of 5 stars
Outcasts and misfits,
By
This review is from: Tolerance: The Art of Chris Mars (Hardcover)
Chris Mars' collection of his paintings is excellent.
A recurrent theme in the paintings in this book is the idea of people being cast out from their natural homes and place in society and alienated from those still living within conventional society. And the outcasts are the victims of some of their fellow beings. There is a tension between two opposing groups in society. Those being abused and those doing the abusing. Those still living within the system and those who have left it voluntarily or have been forced out. But it's not as simple as some people being good and some people being bad. There is a general darkness and malaise in the paintings showing that there are darker forces at work and perhaps the oppressors are simply pawns of these larger forces. The villains are simply those who didn't have the moral strength to stand up to these larger forces. The outcasts and misfits are quite often pictured living in the street while houses glow warmly in the background. While they might yearn for the comforts of their old homes, these outcasts haven't forsaken their integrity, purity, and sympathy for fellow beings. As for the oppressors in the paintings, you don't know whether you should pity them, hate them, or both. On the one hand, there are larger forces at work, political and corporate, that make it easy and expedient for them to play the role of bullying martinets in service to the real powers at work. On the other hand, not everyone in the paintings has given in to these larger forces. Some of the people being bullied have no choice in the matter because of physical or mental illnesses or weaknesses that make it hard or impossible for them to resist. But others have the honesty and integrity to see through the lies and resist, while helping those who aren't strong enough to fight back on their own. The conventional attitude today seems to be that playing by the rules of large corporations (or morally corrupt political leaders), getting what you think is "yours", and looking the other way when it's convenient for your conscience to do so is the cool, smart thing to do. That's what winners do. And you don't want to end up on the wrong side of the winners/losers line. Chris Mars' paintings show the ugly lie behind this attitude and way of living. The oppressors and the ones who look the other way are the truly ugly ones in the paintings. They might think they're not the ugly ones (or, maybe, deep inside they have doubts), but they are. But, there is something hopeful in the paintings. I don't know that there is reason for hope, but, even if there isn't and things will always be more or less as they are now, I know which side I want to be on.
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