Brian Kenneth Lord (7 April 1942…..) is  an American painter, abstract expressionist, illustrator, collagist, and  photographer.

Brian Kenneth Lord was born in Bristol County, Massachusetts, of Portuguese and French Heritage, the son of Joseph Roland Lord ( metallurgist, engineer) and Geraldine Murphy Santos.  His childhood was spent along the banks of the Narragansett Bay rivers, on boats that his father and grandfather built. Spending most of his time in the woods and marsh lands with his dogs  had  a profound and subtle influence on his work.  Mr. Lord is a self-taught artist. He began painting at age 14 and in earnest at 15.
In 1953, Lord's family moved to Washington D.C. where his father worked on a now declassified government project called  Atomic Annie the Atomic cannon.  His father oversaw the machining and the metallurgical properties of the barrel at the U.S. Navy gun factory.  Lord spent most of his time exploring the various buildings and agencies in Washington D.C., discovering little-known museums and collections of historical objects and art.  Truant from school, he blended in with other school children in school groups that were touring these buildings, learning and absorbing all he could.  This time, more than any other time in his life, he realized that he could contribute to the art world. 

 After his fathers death, he quit school and moved to New York's Greenwich Village in 1957, to pursue his fine arts career on the “front line” of contemporary American art.


 He was influenced by notable artists such as Ben Shane, Paul Klee, Clifford Still, David Smith. The jazz scene in New York at that time was his life and he made many friends among the jazz artists who collected his works.  These jazz musicians were especially important by  encouraging him to pursue and develop his art.  He also associated with artists in the Village, mostly Latin American which later influenced him in  Washington D.C. to seek out and explore the Latin American art scene.
He was discovered by José Gómez Sicre, cultural director of the Pan American Union (PAU), Organization of American States  Under the patronage of Gómez Sicre, who organized his first solo exhibition in 1961 at the Adams Morgan Gallery in Washington D.C., titled "Impressions of Viéjo Mundo," Lord became part of the Colorist Movement (the Colorist School).  In 1961, he traveled to South America on behalf of the PAU and Esso Corporation to photograph and document works of art to be included in an international exhibit sponsored by ESSO Corp. titled "3000 Years of Colombian Art" from Pre-Columbian to contemporary artists. 
He received a grant to study in Spain at the University of Madrid, culminating in a one-man show at the Galleria Artill, Institute de Cultura Hispanica (Institute of Hispanic Culture).  After returning to the United States, he exhibited in a group show at the Pan American Union in 1964 titled "Nine Contemporary U.S. Painters."  This group then toured South America.   


He is primarily a painter. His compositions are usually influenced by industrialized networks.  These appear in his earlier works that he called the megalopolis division of a metropolis.  His first solo exhibit was divided into two groups; the first one was Megalopolis, visions of the future and the second, Via El Mundo (visions of the old world) which incorporates elements of ancient architectural structures such as old cathedrals, castles, and fortresses.

The connection between science and art has effected the unifying elements of his compositions, integrating structures of geometric forms and industrial designs,  such as using images of partial accelerators cloud chamber tracks, or images of scientific experiments in nuclear physics. These became an important part of his inspiration which led to a series of drawings that were purchased by Dr. Girstenberg of the National Bureau of Standards, Nuclear Physics Research Institute in Washington DC. This series expressed the relationship between nuclear physics and art.


In late 1964, Mr. Lord moved to the West Coast, dividing his time between the Spencer Ranch outside of Tucson, Arizona and his studio in Malibu, California, Big Sur and the Trident club in Sausalito California.   Mr. Lord entered into a new chapter of his life. He began looking at his work critically and destroyed several hundred paintings and drawings. He began collecting cars and motorcycles spending most of his time working on his car collection and motorcycle collection. He created many drawings of cars at speed. These became very personal works and related to a new style of discovery. He  drove across country in four days in one of his collector cars, an Austin Healey 100 mark 4S, one of only 50 made,. Lord moved to a farm in the outside of Washington DC in Fredericksburg Virginia where he began work on new series of paintings, to be exhibited in Paris. Mr. Lord traveled to England on board the SS United States one of the last luxury liners to cross the Atlantic. He spent time in London,  England  looking for cars.
 Mr. Lord exhibited his work in Paris in the fall of 1966.  While in Paris, he met Salvador Dali, spending nights doing the Paris scene with Dali.  Mr. Lord purchased an Aston Martin DB 4GT from the ex-president of Simca Corporation, bringing the car back to the United States aboard the German ocean liner Brennan. He arrived in New York City in the winter of 1966.


1967 to 1969 Mr. Lord worked as a fashion photographer in New York City.
 He moved permanently to California at the end of 1969 where he has been living since, working as a photographer and artist. He has held exhibits of his paintings and photography in California. He worked in the camera departments at Universal Studios, and the Burbank Studios. Trained as a director of photography, he was being groomed as a color coordinator by the renowned Robert Bauer who worked at Universal Studios under Lew Wasserman.


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  2. Great work, Brian. Hope to see more.

  3. I knew you back at Michael Fordyce's in Georgetown in the 60s. I've bounced around a bit too, especially Egypt and Europe. Now I make books, the last one about ancient Egyptian symbolism...Barbara and I discovered a lot of sources and meanings, and top Egyptologists seem to agree ( We live just north of the Golden Gate. Hope you're having a great life.
    Jonathan Meader

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    2. Jonathan What a trip? No I vaguely remember???? that no one I know ever talks about Michael fordyce? I'd love to talk to you further about the whole scene during the 60s. they are making a documentary movie about that period of time I'm going to give you my phone numbers let's try talking on the phone if possible I used to live in the Bay Area I had a studio in San Francisco and I lived up there in corta Madera/Mill Valley and I haven't been up there in awhile I'll tell you all about it when we speak on the phone? later thank you so much for commenting on this blog site, I very seldom check it My numbers are: Los Angeles (323 352 8916) (cell) 323 213 0655

  4. Brian,
    Have been seeking some of the work you gave me and would be glad to share --- heard rumors of your passing and I assume they are greatly exaggerated!!
    call me if you still have my TN phone# or respond to this ---
    wishing you the best,
    iris (pat)

    1. No - Brian, that is someone else! A flower by another name. I love it that you put a more complete bio on this page. It is terrific! I have been thinking about you for a couple days and will call you soon. I am well. Writing a novel and getting ready to do some paintings, but I broke my right hand a couple weeks ago, so recouping right now. Hope you are feeling well. I am looking forward to seeing you add some more paintings on this page - for posterity!