When Barry Manilow returned to composing music for his first original album in a decade, 15 Minutes, he wanted to do more than create beautiful songs, and for the first time in his celebrated career, the packaging would not bear a photo or caricature of himself. To accomplish this, he sought a conceptual artist who could create eclectic, stimulating visuals to match the edginess of the content.
Contemporary artist James Jensen, says it “was a pretty easy afternoon”, remembering the day Barry stopped by his Palm Springs studio to peruse his work. Jensen wasn’t “sure what to think of the project”, but Manilow, “a creative visionary,” knew exactly what he had in mind: art that was splashy, modern, and red; layered texture with Warhol imagery to tie in the famous quote the album references.
15 Minutes album art by James Jensen
Barry quickly made the decision that James could indeed bring the cover to life, “from then on it was still pretty casual and I just loaded him up with a series of conceptual paintings and portraits, finally creating more complete works.” For the portraits, a photographer was brought in, who James compliments for working with “ease and artistic integrity” to capture images of Barry, which James then used as models to create paintings, following the same theme as the cover.
James Jensen at work
Upon completion, Barry’s team went into full gear to produce a storm of visuals to surround him in the project; setting forth to market the album in print, on billboards, during TV appearances and promote his concerts at the 02 Arena in London last year. Some of the visuals, are now showcased on screens, placed on stage when Some appear as full screen, on stage visuals while Barry performs cuts from the album at his shows in Las Vegas and various venues.
The unique, gorgeous portraits, as well as merchandise bearing the original art, can be purchased in the Manilow store at the Paris Hotel and Casino in Las Vegas, where Manilow is resident headliner.
James Jensen understands music! Associating it to art in an interview he states “the composition of music is very much how I look at art. There should be weight, movement and lyric quality and some sort of story telling” He also shares much the same philosophy as the musician whose goal has always been to cause the listener to feel. Jensen purposefully strives to evoke emotional response before the dialog of the art comes in. He “wants people to react!”, and obviously they have.
Months before 15 Minutes was released, Barry’s team shared “puzzle pieces of the cover online. As the finished product took form, fascinated fans researched who the artist was, Googling his name in search of hints.
“Now It’s For Real” is the title of the album’s third song. Coincidentally, James used those exact words in describing his feeling of excitement the first time he saw his completed project displayed publicly:
It was when I was in London when I finally saw the scope of it all, when I turned around and saw the billboards, full-page posters in the papers and displayed in the subway…all with my studio projects meeting up with Barry himself in the ads.
Funny, I saw him the very same evening at an opening of a theater performance—we were both backstage greeting a mutual friend, and he said something to me like “now look what you’ve done,” referring to all the art imagery and the excitement. Which just goes to show you what a generous man he is and totally affable about his meteoric fame. I knew then that not only was he a true artist…but we were all in for something big!
Clearly, Barry made the right decision in choosing the artist who would perfectly wrap his genius gift.
No matter how rapidly the world evolves, or how many changes we see, music and art maintain their effect on human nature. Classics, like those created by Barry Manilow and James Jensen, will live on forever. I’m honored James Jensen graciously set aside time in his busy schedule for an interview, which I’m delighted to share with you today.
Helen Holdun: Congratulations James! Your exceptional art compliments the phenomenal brilliance of 15 Minutes. What you created exudes the energy of the album as well as that felt when attending a Manilow concert. How fantastic that you’re part of the collaboration of genius bringing this album to life.
I travel to Vegas often to see Barry’s show, no trip is complete without stopping in the Manilow store. Each time I hear people talking about the portrait you’ve created and discussing the “Warhol” feel it evokes. I agree, and also feel it captures the essence of Barry’s emotion and gentle kindness. In your career you’ve showcased your art in gallery settings, but have you ever been involved in a project where your work is displayed in relation to an artist of a different genre? Within that thought, is there an artist who’s had an influence on you?
James Jensen: I’m extremely impressed by other artists’ work and movements of work throughout history. One type of training for a young artist is to copy existing paintings to learn lighting and brushwork—although it’s less of a practice with today’s schooling. I found that I could easily copy other artists’ work, which can be more of a problem than an advantage. In the art world creativity is key and to always find your original voice is very important. Having said that, I’m often referencing the work of the pop and modern art movements of the 60’s and 70’s. These visual artists such as Rauschenberg, Johns, Kline, Warhol and more paved the way for today’s work to be without boundaries, expressive…soulful.
You’ve always had a strong interest in music, entering the University of Colorado with the intent of composing and becoming a concert pianist. However, you found your aptitude for painting and drawing redirected your focus. Do you think your knowledge of music and it’s creation, assisted your ability to bring to life Barry’s vision for this project? Do you still compose and play piano?
Yes, there is a huge grand piano right in the middle of my studio and I play all the time, usually classical. Having a musical background has and does impact my painting daily—my paintings tell a story and even have a lyric quality—I know that may sound a little poetic, but even a splashy modern painting in my studio has structure that takes the viewer along a journey and there are climactic areas of a painting and pastoral areas as well. I often use musical terms to explain the paintings.
You refer to yourself as a “transitional painter, yet very contemporary”. Thankfully, three years ago a mutual friend, artist Dirk Yates, introduced me to you and your work. I love your diversity ranging from abstract to contemporary, yet each contains your distinct quality. My mood altered moving from one piece to the other. Knowing art is personal and emotional, as you create do you feel responsible for a viewers perception or the affect it might have on them? Are you too close for your completed works to affect your own mood?
Art is a message, an expression—we are trying in an obscure way to convey something, whether it’s a feeling, emotion or even a socio-political statement. In my case, I hover around three things: color, texture and motion. People react to my paintings. They’re strong, compelling, yet up close there are very delicate areas that invite the viewer to linger.
Everybody reacts to color—emotionally. Red is used in the studio more than any other color—and I love red.
I have a close attachment to a painting while I’m working on it—you have to dive into your soul, be clear and present when you paint, remind yourself it’s what you love daily or you’ll lose your vision. I’m always happy for a painting to go off into the world, because I’m already on the next one.
As a personal aside, I have to tell you some of your work reminds me of Manet, who I adore, especially “Bar at the Folies Bergères,” which I fell in love with at MOMA.
You’re working at your studio in Santa Fe. A place of such vibrant color and texture must be paradise for an artist. Are your current projects inspired by that environment?
Santa Fe, albeit a quirky little town, is a world-class art arena. The first thing an artist feels is ‘where do i fit in?’ with such impressive art swirling around there are two reactions most artists have: ‘get me out of here’ or ‘this is the place for me’ Sometimes too much stimulation and art messaging is the wrong recipe for art production, and that artist needs a solitary removed artspace. I like the challenge, so I find Santa Fe (and the three thousand other artists here) to be very inspiring, competition brings me to life, exchanging thoughts. It’s not all about that though, it’s a beautiful setting, and I get to meet in person a lot of the people that end up buying the art.
Musicians and writers always seem to have ideas swirling around in their heads triggered by day to day experiences. Does the same thing happen to you? Are you constantly seeing what’s around you as inspiration for a piece?
Your question is right on target. For me, my life experiences and observations inspire my work. A visual artist receives and processes information just a little differently and often things linger on the mind…that can be the start of a great painting. The volume is turned up on this concept when one travels—that’s why I travel continuously.
Jensen in the studio
Going back to Barry Manilow; he shares how vital music education was to him and in light of budget cuts, he’s vigilant in his efforts to keep music alive in public schools through the Manilow Music Project. What’s your feeling about the importance of art education for children?
When I heard that art, music, theater programs were being cut in schools I couldn’t believe it—this is where we all hatched our future careers to get right to the point. They aren’t parts of education that are disposable, yet it is/has happened. So it lands on people who can help and keep some small fires burning in the dreams of young people that you can become a musician, artist, writer. Barry Manilow made a wonderful sweeping gesture with the band instruments for students and continues to do so to this day. I still play the bassoon in community band and we do what we can to raise money and scholarships for teens.
Lastly, how do you spend what little free time you have away from art? Viewing art can be used as a method to decompress. Do you have any stress busting hobbies you’d like to share?
Even though I am prolific in the arts…I still don’t have half the fortitude of Barry Manilow—if he’s awake, he’s at the piano! If I painted that much I’d be in the Louvre. kidding aside, you do have to balance your life—i like my dogs and music, I’m also physically active, hiking, biking, skiing which keeps your mind and body useful and clear. I surround myself with things that are fun, friends that are funny…and science fiction movies!
Thank you so much, James. It’s been honor to have you share insight into your creativity. I know many new people, some of which are Barry Manilow’s fans, will be exploring your work and looking forward to new creations.
For more information about James Jensen’s work, follow him on Facebook.
Painting Barry Manilow