Exclusive! A Visit to Raymond Pettibon’s Moscow Show

A retrospective of 400 works by controversial American Artist Raymond Pettibon in Moscow, Russia, of all places, in this tempestuous year of 2017?

This I gotta see.

But, since the MTA doesn’t go to Russia, I missed it. Still, the idea of this Artist in this place at this time, what this show could include, and the reaction of local viewers left me scrambling to find out as much as I could. I even ran ads on craigslist in Moscow seeking reactions from show goers. To this point, I’ve found almost nothing about it in the media, save for this one article in the Russian press, in which writer Igor Gulin says, according to translation, that Pettibon is an Artist “who for a long time left the punk aesthetics of his youth, but did not lose a drop of rage.” Finally, my International Art Researcher friends over at the Hattan Group agreed to go and cover the show for me. So, thanks to their kindness, and efforts, I am able to present an exclusive look at what shaped up to be one of the most intriguing shows of the year, through their eyes and Photos.

A ticket for the show. Let’s go in! All Photos courtesy of the Hattan Group. Click any for full size.

Midway through the run of the most recent NYC Pettibon show, “Th’ Explosiyv Shoyrt T” at David Zwirner, which I wrote about here, came word that a retrospective in Moscow called “The Cloud of Misreading” (on the website), or “The Cloyd o’ Misreadyng,” on Pettibon’s hand-painted mural, below, was due to open on June 7 in Moscow’s Garage Museum of Contemporary Art, and would include 400 pieces. Founded in 2008, by Dasha Zhukova and Roman Abramovich, Moscow’s Garage Museum is a fairly new, and rising, star on the global Modern Art scene. That it’s gotten off to a fast start can be seen in NYC, where as I write the show, “Proof: Francisco Goya, Sergei Eisenstein, Robert Longo,” that originated at the Garage in Fall, 2016, is now at the Brooklyn Museum. And, as if Moscow wasn’t enough Raymond Pettibon, the New Museum’s blockbuster retrospective, “A Pen of All Work,”  which I wrote about here, traveled to the Bonnefantenmuseum, in the Netherlands, where it opened on June 1, with 700 pieces. Phew…Raymond Pettibon and the curators are clocking some serious frequent flier miles. We’ll hear from one of them later.

The show’s entrance features one of Raymond Pettibon’s famous hand-painted murals. I hope the Russians are up on their “Pettibon English.”

Given all that’s gone on in the past year the timing of this show is most auspicious. Especially since Raymond Pettibon has never been an Artist to mince words, pull punches, or look at the USA (or anything or anyone else for that matter) through rose colored glasses.

Pettibon’s large, hand-painted mural, seen here and in the following three details, features that most alien of sports to Russia- Surfing.

Pettibon’s murals are painted over at the end of the show they were created for. This one lasted until August 13.

Before it opened, I wondered if some of his “stronger” works, or topics, would be omitted. Certain of Pettibon’s long standing subjects, say, Surfing or Charles Manson (Note- I wrote this piece before word came down today, November 20th, that Manson died earlier today. I also note that Pettibon has been unusually silent on his Twitter page for the past week, so, he’s had no comment on it as yet.), would seem to have little resonance in Russia to this outsider. After the show opened, I was able to “visit” it online through the exhibition brochure, which includes color photos of all 400 works on view, and which can be downloaded here.

The center vitrine contains Pettibon’s early Zines, Record Covers and excerpts from his archives. On the wall to the right are works pertaining to drugs, death/murder, and the hippie sub-culture.

Pettibon’s world famous 4 Bar “Black Flag” logo, seen in the vitrine, speaks a universal language. Of it Igor Gulin says, “In 1977, he painted a logo for his older brother Greg’s Black Flag group. Four black bricks are a constructivist version of an anarchic flag, in which the rage of protest does not flare up, but crumbles. There is no integrity, vigorous unity, but there is a strained friction of the elements, frightening the rhythm between them.  In this seemingly elementary thing, one can see the prototype of Pettibon’s future work.”

The show was curated by Gary Carrion-Murayari, of the New Museum, NYC, & Massimiliano Gioni, Artistic Director of the New Museum, NYC, the team that curated the New Museum’s unforgettable 800 work “Raymond Pettibon: A Pen of All Work,” here, earlier this year. They are rapidly becoming major players in the larger Art World, in addition to raising the standing of the New Museum here in town.

This room features works highlighting abstraction in nature. A wall of Pettibon’s classic Wave works, right, joins other works depicting marble, crystal, rocks. Notice that most of the works on these 3 walls, including the huge Wave piece, right (which may be worth upwards of a million dollars), are not framed, but simply tacked the walls. In the back room, straight ahead, are works pertaining to recent “US foreign policy.” As for Surfing in Russia? Here’s where the surf’s up.

Gumby and Vavoom, two of Pettibon’s alter egos are featured on the wall to the right. To the left are works depicting trains and locomotives.

Works pertaining to Christianity, left, with the other half of the train and locomotives wall, right.

On the back wall are works that include images of fighting, on the right works that include nudes. One visitor commented that the show contained “a lot of sex.”

Mr. Carrion-Murayari introduces Pettibon and the show this way– After becoming an underground legend, beginning with his work in early days of the L.A. Punk scene, he says, “The stark imagery and darkly humorous captions of these works made Pettibon an underground legend long before he came to the attention of the larger art world. By the early 1990s, Pettibon’s vision gradually expanded to encompass the breadth and complexity of American history and culture. The tenor of his work shifted from strident to poetic, with a gradual softening of his graphic style and expansion of his subject matter. In the past thirty years, he has created iconic series of drawings on subjects as varied as surfing, baseball, cartoons, natural history, love, war, and his own artistic aspirations and failings. The title of this exhibition evokes the creative use of language that has evolved in Pettibon’s work over the course of his career.”

“No Title (Nobody Reads Dostoyevsky…),” 1986, Pen and ink on paper. Stalin also appeared in Pettibon’s David Zwirner show, where it looked like it had been used for target practice due to the paint splatters left on the wall from when Pettibon had worked in the gallery space.

Looking at the selection of works, I became fascinated by just which works were chosen and what they might reveal about any “message” in the show. I went through the show’s brochure and created a list of subjects and which works fell into them.What did this exercise tell me? Pettibon in Moscow is full-force Pettibon. No topic was “taboo.” All of the Artist’s, by now, well-known subjects are represented in depth.

Even more fascinated, I asked Mr. Carrion-Murayari what went into selecting the works for this show. He replied-

“In terms of the selection of the works, it was of course impossible to represent more than a small percentage of Raymond’s total oeuvre and even impossible to show all the variety of series or recurring images that he has produced over the years. We focused on three general areas of thought within his work: work on politics, work on the dark side of America and American culture; and work on creativity and the artistic or writerly temperament. We tried to represent some of his most iconic series and also demonstrate the way certain ideas and images pop up again and evolve over the duration of his career. We looked at thousands of drawings just to get to the final 800 or so that we included in the show, but even so, there were a number of early drawings that had appeared in books or zines that we searched for over the course of many months and were never able to track down. It’s entirely possible to imagine a dozen alternative Pettibon shows that would be equally as rich and surprising.”

“No Title (Will you give…),” 2007. Pen and ink on paper.

I then asked him what role Raymond Pettibon played in the selection of works for this show, if any. Mr. Carrion-Murayari said-

“Raymond wasn’t so involved in the selection of the specific works for the show. He pretty much left it to us, as he has done for many of the museum shows he’s done over the years. For the show at the New Museum, he was most focused on creating a number of new drawings specially for the exhibition and then of course on making the fantastic site-specific wall drawings at the New Museum, the Bonnefantenmuseum, and the Garage.”

“No Title (This one reminded…),” 2008, Pen, ink and gouache on paper.

Not to mention that, as I noted in my piece on the Zwirner show, Pettibon was, also, holed up in David Zwirner’s 519 West 19th Street space for the first part of this year creating the works for “Th’ Explosiyv Shoyrt T,” which opened barely 2 weeks after the New Museum show closed. So far in 2017, Raymond Pettibon has had THREE museum shows, that featured 1,900 works, AND a gallery show of a further 100 NEW works, making an even 2 grand. Phew. And on the 7th day…

Here are some of the other works on view at the Garage-

“No Title (I’d rather starve…),” 1987, Pen and ink on paper.

“No Title (We can’t start…),” 2012, Pen and ink on paper.

“No Title (I wanted moreover…),” 1999, left, and “No Title,” 2004, Both pen and ink on paper. Believe it or not, baseball appears to be gaining popularity in Russia.

“No Title (Duly facing myself…),” 2000, Pen and ink on paper

“No Title (It taught, it…),” 2003, Pen and ink on paper.

A closer look at a wall with works pertaining to US “foreign policy,” includes some of the following-

“No Title (The U.S. has…),” 2015, Ink and acrylic on paper.

“No Title (Till the map…),” 2008, Pen, ink and gouache on paper.

“No Title (CCCP, Sputnik, Cosmos…),” 1990, Acrylic on canvas. A rare Pettibon Painting.

“No Title (Advances in medical…),” 2007, Collage, pen and ink on paper.

“No Title (It is normal…).” 2001, Pen and ink on paper.

No Title (To Jill St. John…),” 1985, Pen and ink on paper.

This has been a year that would be extraordinary for any Artist. For the first 10 months of 2017 it was possible to see one, or three, major Raymond Pettibon shows somewhere in the world at any given moment. Since these shows are planned long in advance that they are happening (coincidentally ) at a time of such tumult in the country and in the world makes for one of the most auspicious run of shows in memory.

No matter the location, a highlight in each of these shows for many viewers are Raymond Pettibon’s Wave and Surfer works, which seem to lie at the center of his output these past 40 years. 4 of the 5 highest auction prices (1 million dollars, plus) for a Pettibon work depict one or both, for whatever that’s worth. Yet, they are a very small part of his huge output (numbering over 20,000 works as of earlier this year).

“No Title (Is some one…),” 2013, Pen and ink on paper…and tacked to the wall. Is doing so a remnant of “punk” attitude and street beginnings?

He could sit back and do them indefinitely and, no doubt, sell every single one he does. But, he doesn’t. In the last show of his new work, at David Zwirner, there was only 1 large Wave Drawing out of 100 works. In fact, the biggest one he’s done recently was the one for the wall painting for the Garage’s show, up top, which was painted over when the show came down. It’s far bigger than any of the 4 that sold for a million dollars or so at auction, yet it was done to only be on view for a short time.

It’s now gone…like the waves it depicts- a phenomena of nature, beautiful while it lasted. Like the mural (or the show), you had to be there to see it, and get it’s full effect. If you weren’t? You missed it.

*-Soundtrack for this Post is “Surfin’ USA” by Chuck Berry & Brian Wilson, and recorded by the Beach Boys.

My thanks to Gary Carrion-Murayari and Paul Jackson of the New Museum.
My thanks and gratitude to the Hattan Group for getting to the Garage show and allowing me to publish their photos.

On The Fence, #15 , The Cloyd Woyd.”

This Post was created by Kenn Sava for nighthawknyc.com
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Raymond Pettibon’s Burning Bush

“Raymond Pettibon: A Pen of All Work,” at The New Museum featured a multi-faceted lobby Mural by the Artist that touched on long time themes, and added a few messages. Click any photo to enlarge.

High above, to the left of center, the Artist painted these words…

“I have been rewriting ‘that modern novel’
I spoke of to you…On th’ whole it is a failure, I think,
tho nobody will know this, perhaps, but myself…iyt is a simple story, simply told. And yet iyt hath no name.”

This show fills THREE FLOORS of a quite prestigious Manhattan Museum. Please define “failure,” Raymond. Unless, you’re pulling our leyg…again?

“Raymond Pettibon: A Pen of All Work,” a Retrospective that also marked his first major NYC Museum show, closed at the New Museum on April 16. I was there almost to last call, drynking in as much as I could, though I was past being intoxxxicated on the 800 Drawings, fliers, album covers, ’zines, Artist’s Books and his films the Museum displayed over those 3 full floors1, plus the fascinating, multifaceted mural he did in the lobby, seen above, and below.

“Beyond it lays everything tht mattered.” That tells you right off how the Artist feels about this, the logo he designed for the legendary band HE named Black Flag, that featured his brother, Greg (who also founded SST Records, who sell Pettibon’s work to this day, without ever mentioning his name). The period it represents really is such a small part of his, now, 40 years of work. It’s (also) the #1 tattoo in the land, here painted on the Museum’s elevator doors. Still on the outs with his brother, he says he rarely draws it any more, so this time, he added very small text above each bar, which reads-“Doors nor windows.””Beyond it lays everything tht mattered.””He isn’t under there, he’s in the woods.” and “The last sentence is somewhat obscured to me.” from left bar to right.

Homage to classic NYC Baseball. Another part of the mural (all since painted over) showed Brooklyn Dodger Jackie Robinson, waving a huge bat, and the Yankee star, Whitey Ford, right, in individual Drawings, not in action against each other.

It might be a while before you see this in a Museum, again. That elevator goes to THREE floors filled with Pettibon. Some “failure.”

Installation View of the 4th floor of “Raymond Pettibon: A Pen Of All Work,” at the New Museum, seen on it’s closing day, April 16. In the center is a room with work the Artist created for this show inside.

Barely, had I had time for this buzzz to peak when lo and behold…Here comes A-NOTHER Raymond Pettibon show, “TH’ EXPLOSIYV SHORT T,” at David Zwirner, 19th Street, with NINETY-NINE more, recent works, only a couple of which were in “A Pen…”(they were part of the lobby mural, tacked to the wall)! And? These 99 works were being shown in the very space where Raymond Pettibon had created them. Whoa! So, unless I completely overdose on Pettibon first, you might, as I’ve opted to do three pieces- because I think his work is that important and timely- one on each show, and a third piece that looks at the place Raymond Pettibon’s Art is now. Since the David Zwirner show, where I met Raymond Petitibon on April 29, still has some time to run before it closes on June 24, I’ll start with “A Pen of All Work,” my “NoteWorthy” show for April, before the trail grows cold on it, though for you lucky folks near Maastricht (correctly spelled), the Netherlands, it just reopened at Maastricht’s Bonnefantenmuseum, on June 2, with 700 works, where it will run through October 29. 2

“Try everything, Do everything, Render everything,” Ink on paper, date unknown. And? He proceeds to do just that…

Mr. Pettibon is somewhat unique in the Art world because of the way he got here, achieving legendary status through his work for bands before he got a Gallery to represent him. So? The Art world is not as familiar with the early work, while his early fans may not be as familiar with what he’s done lately (though, of course, he has many fans who have been with him the whole way, too). I’ll try to show a mix of work here, while trying to give a sense of what this remarkable show was like.

I have to think back to the Picasso Retrospective which filled ALL of the old MoMA in 1980 to recall a show of comparable size. Still, if there was a common theme to be found it was that “his entire body of work is very much a confrontation against ideologies,” to quote Massimiliano Gioni, the New Museum’s Artistic Director, on the excellent audio guide. Whatever you’ve got? Pettibon will confront it, and given how much confronting he’s done, everyone involved did a superb job of installing it, organizing all of these works by themes.

Timeless. Unfortunately. “No Title (Fight for freedom!),” 1981(!), Pen and ink on paper

The 2nd floor mostly focused on Pettibon, himself, looking at his early work with an eye on how he created his own “alternate media” in the form fliers, zines, record covers, Artist’s books, films & videos, et al, and how he goes about his craft, including samples from the archive he uses as source material, and to draw inspiration from on a daily basis.

A bit of Pettibon’s never before seen archive of source material includes Iwo Jima, Giuliani, and 9/11.

Also on 2, along with a good part of his past, part of Pettibon’s current legacy was on view in full effect, as seen below. He forged his own way of getting his work seen, first on fliers, then on record covers, zines, Artist’s Books, and then added film and video, all before finding acceptance in the Art world, something he says was delayed by 10 years due to his association with punk. A visit to stores like New York’s Printed Matter feels like visiting the work of many of the “children” of Raymond Pettibon, as his example has been, and is being, followed by countless Artists, Photographers, Musicians and Writers right now. Including thiys one. Though, perhaps not the first Artist to work in any of those media, his methods, and his path, remain most influential.

I had to cross the Framers Union picket line to see this show, who were on strike because Pettibon prefers to tack his work to the walls with straight pins. With 800 works in this show? That’s a LOT of lost work for framers. Ok…I’m kidding. I’m pulling your leyg now. Looking at this photo, you can see how very far Pettibon’s work has come. In the glass case are GORGEOUS copies of his (now rare) early gig fliers that were posted with no thought of posterity in the late 1970s. Behind them, on the wall are 2 tacked up drawings, and one painting(!), left, next to 13 framed drawings of no less than the Manson family. Out of the 20,000 Drawings Pettibon has done, only a small percent have been framed. With the prices being paid for his work? I’d bet that just about every piece that is tacked to the wall here is being seen that way for the last time. Framers? Get ready.

Also on the 2nd floor is the American premier of the virtually complete original art for his first book, “Captive Chains,” 1978, an homage to comic books/Texas Chainsaw Massacre/ Betty Page that is laced with S&M imagery as well as first rate drawings, different in style than what most of his fans may be familiar with. Pettibon has been quick to downplay/under-play/denigrayte his self-taught Drawing skills- including these! “Captive Chains” begs to differ. Sorry! No faylure here. These are both terrific, and now classic. Perhaps most interesting, a number of it’s pages are full page drawings with no text, something almost never seen in Pettibon’s work since. In fact, it seems to me his career has followed the trajectory of his work being more about image primacy early on to now when text and language have come more and more to the forefront. One indication of this is that many drawings lie unfinished in his studio at any given time while they await the inspiration of texts to complete them. Sometimes for years.

The complete original art for “Captive Chains,” 1978. 68, ink on paper Drawings seen in the USA for the first time, and yes, they’re tacked to the wall.

One page. Ugh…I’m sorry. Putting a tack in this is like putting one in my hand.

Pettibon is fond of recycling old characters from the comics and television, including Batman, Superman, Gumby and the obscure side-kick character, Vavoom. While Batman and Superman are famous, Gumby, a long time personal favorite, is in eclipse. A claymation character created by Art Clokey3, he was able to walk into books and live in them, as well as visit other times in history. Vavoom was a side kick on the Felix the Cat cartoon show, a character, who’s only vocalization was, literally, an earth shattering shout out of his own name. Both Gumby and Vavoom are alter egos of Pettibon, and stand-ins for the Artist. Very interesting choices, to say the least.

The old cartoon side-kick, Vavoom (seen here in “No Title (A beautiful, actual…),” 1987 ink on paper, only able to say his own name is an interesting alter ego for an Artist who is so intensely literate.

…so is Gumby. “No Title (I borrow My…),” 1990, Acrylic on board.

In a long, rear gallery on the 2nd floor, was an amazing selection of Pettibon’s superb Baseball Drawings.  Along with surfing, the Artist’s passion for Baseball is lifelong. As with his other work, unless you’re a Baseball Stat expert, like he may well be, it takes some digging to begin to understand why Pettibon is choosing to depict a certain player at a certain point in his career. (More on this in my Post on the Zwirner show.) While his early punk work continues to gets so much attention, other areas of his work live in neglect. If there’a another Baseball Artist in Pettibon’s league? I don’t know of him/her.

Against the world. “No Title (1.12 Bob Gibson),” 2015, Pen, ink, pencil, acrylic on paper. “1.12” was Bob Gibson’s E.R.A. in 1968, when he won 22 games and lost 9. His St. Louis Cardinals lost in Game 7 of that year’s World Series. Could anything better capture his intimidating presence than this?

The 3rd floor sees Pettibon looking at the various “tribes,” and subcultures in recent American history- surfers, hippies, punks, the Manson family, and musicians.

Even The Beatles “get Pettibon-ed,” to coin a phrase, about who is the “largest” member. “No Title (Few know this…),” 2015, Ink on paper. Pettibon continually revisits history (usually, American), often years later, as here. In the 2000’s, he began addressing events closer to “real time,” like the War in Iraq. One thing I haven’t figured out yet? His work’s “penis obsession.”

His Surfer and Wave works strike me as living at the center of his work, the heart of it. Beyond punk, Manson, religion, politics, war- all the rest of it. Here’s a world Pettibon knows intimately having grown up near the water in Malibu, where he indeed surfed, though, as he told Dennis Cooper in “Raymond Pettibon,” (Phaidon), “I don’t surf much any more, but I grew up with it. I was never a card-carrying surfer.” Usually, he depicts a solitary man in the middle of a gigantic wave, testing himself against nature, symbolically against the world, against the nature of things, against chance, and against himself. As his 2005 work, ”Man stands as in the center of Nature, his fraction of time encircled by eternity…”, which wasn’t in this show, sums up perfectly. At moments like those, the “truths” that present themselves (or rather, that Pettibon presents) are often zen-like koans- they’re ineffable. They can’t be distilled further. All but the tiny place where board meets water is out of his control. How long will the ride last? Will he survive? Be maimed? What goes through the mind while it does, and at times like those? It’s not just a man’s game, either. He shows us girls and women surfing, sometimes topless.

Monumental. “No Title (As to me…),” 2015, Pen ink, watercolor, acrylic on paper 55″ x 113″. Another of his large Surfer Drawings sold for 1.5 million dollars in 2013, “failing” to reach four times the high estimate.

“No Title (Don’t complicate…),” 1987, Ink and gouache on paper, 24″ x 18″, MoMA. If I could choose one work of his? This might be it…at the moment. You styll have 300 other Pettibons, MoMA.

The 4th floor sees Pettibon’s extensive, long-running, devastating and ever-timely political and war works, along with works relating to the power of media. Brace yourself- Pettibon doesn’t play favorites. Democrats and republicans come in for just about equal poundings- from JFK through Obama. It culminates, and the show concludes, with an inner gallery of work Pettibon created for “A Pen of All Work.”

Twas ever thus. “No Title (You’re supposed to read the green first, Congressman Ford),” 1976, Red, blue pencil on paper.  An early work about Gerald Ford by “R. Ginn.” The name “Pettibon” comes from his dad.

The layout of the 4th floor is interesting in the choice of having the most timely, most controversial and most “explosive” work including pieces regarding Ronald Reagan, Gerald Ford, Donald Trump (one from the 1980’s, and one from the 2016 campaign) and atomic explosions….

“No Title (“End the war…),” 2007, Pen, ink, gouache on paper, 30″ x 22,” left, seen with “No Title ( The war, now…),” 2008, Pen, ink, gouache,  acrylic on paper. Don’t worry. There was a whole wall about JFK, and yes, Obama got “Pettibon-ed,” as well.

A wall of work on religion, another ongoing theme.

surrounding an inner space, where the feeling is, surprisingly, both personal and intimate, it felt to me. Inside, the Artist pays homage to his mom, talks about his craft, and, apparently, nature, life, some of his wishes at this stage of his life (he turns 60 on June 16), all in works created for this room, and some on it’s walls.

The show includes some treasures. His mother, 95 as of last December, saved some of his childhood drawings from the 1960’s and 19 of them were on view that Pettibon has now added texts to! Pettibon pays homage to his Mom in a wonderful, Artful, way in this final gallery, which brings the show full circle.

Inside the final room on 4, containing works Pettibon did especially for iyt includes this version of Whistler’s “Composition in Black and Grey, the Artist’s Mother,” an homage to his own Mother, now 95, who he has says has always been his biggest fan, at times his only fan. The feeling this room gave felt like walking around in his head at the moment. He added the writing above it because, he thought, Whistler’s Mother looks like Mary Baker Eddy.

So…Moms? Hold on to your kids drawings!

A view of another part of the final room.

 

“No Title (Pinned to the Earth),” 2017, Ink on paper. In the final room, birds are featured since their feathers are used for quills- drawing instruments. Uh-oh. Someone else wants to chime in on this one…

“On The Fence, #5, Picking-A-Petite-Bone”

Painted on the wall of the final room.

PHEW. Some “failure!” It sounds HUGE, and it was, but it was a mere pittance (4%!) of the over 20,000 Drawings Mr. Gioni says Pettibon has created to date. And counting. He’s already added at least the 99 drawings in the David Zwirner show to the total. And? The one he did for me there.

“No Title (When I see…),” 2006. Pen, ink, collage on paper. Pettibon has been doing collages since around this time, and says one may include up to 70 drawings. As if his work wasn’t cryptic enough!

Beyond that, in a show that contains work that goes back to the 1970’s, it’s fascinating that nothing here feels “dated,” and virtually all of it holds up. Over 800 of any works is a pretty good indication of quality, even out of a body of 20,000. I’m still looking for a “bad” Pettibon.

“No Title …(Do you really believe…),” 2006, Pen and ink on paper.

After spending some weeks with these works, and Pettibon’s work in general, I find Mr. Gioni sums up the mystery of “understanding” Pettibon’s work the best I’ve found so far when he says on the audio guide, speaking of his political works, but I think it’s valuable to keep in mind, regardless of subject- “Pettibon plays with a variety of voices, in this case a cacophony of voices. The texts that are inscribed in the works of Pettibon are rarely a direct confessional expression of the Artist’s opinion, and they are instead a collection of what could be defined as the collective unconscious…” Proof of this is that we learn very little about the Artist, himself, from his work. Unless he comes out and tells us, directly, in interviews, and even then? Watch out for his “tall tales!” The point of the work is not personal (about the Artist, himself). It’s more about self, than “himself.”

“My Heart Tells Me (Self Portrait),” 1990, Ink on paper.

Personally? I felt like I was seeing the work of 800 Mensa members.  If you want to know why he is a major, and in my opinion, crucially important, Artist of our time, the “Pen,” and a pretty nice one, called the New Museum held your your answer. A wall card says the show’s title comes from a poem by Lord Byron. Ok. Another way to look at it is that the New Museums truly was A “Pen” (as in an enclosure) of All (well, A LOT) of his Work “that matters,” as he painted in the lobby.

“No Title …(Good prose is…),” 2013, has been turned into a styling Tote Bag by MZ Wallace, proceeds go, appropriately, to the New York Public Library.

I must also say that I feel that this show was a huge coup for the New Museum. As far as I’m concerned, this is the show that takes the New Museum to the next level. “Big 4” Museums? That sound you hear is someone breathing down your necks in contemporary Art. As for Mr. Pettibon, himself? I wonder. This show could have been held at MoMA (who, according to their site own over 300 of his works, on say, the whole 6th floor) or  it could have filled The Met Breuer (The Met lists 3 of his works online). Either would have, most likely, given him quite a bit more exposure, which might be critical given the timely nature of his work. I would love to know if either was ever an option, and why they passed if they were. Raymond Pettibon’s time is (still) now. Maybe MORE now than ever. Still, all of that having been said, I’m glad that it happened at all! I mean no disrespect to the New Museum. On the contrary, I heartily applaud them on doing such a superb job, on all accounts. Bravo! While I won’t compare qualitatively, “A Pen of All Work” will be one very hard show to top in NYC in 2017. Meanwhile, his Art continues to find favor elsewhere around the world. If you are anywhere near Maastricht, the Netherlands before October 29, don’t miss iyt! Raymond Pettibon also has a show about to open at the excellent Garage in Moscow, Russia. But? Sadly, this one is over.

“And the only sound that’s left
After the ambulances go
Is Cinderella sweeping up
On Desolation Row.”*

When I left “A Pen of All Work” as the show closed that last time, I walked out on to the Bowery, the erstwhile “Skid Row,” or “Desolation Row,”(hence, this Post’s Soundtrack), where C.B.G.B. used to stand a few hundred feet away, back in the day before gentrifucation. Yes, punk is long gone, but Raymond Pettibon’s “failed modern novel” gets more and more attention than ever, now worldwide. Pondering all of this, I felt that Pettibon seemed to be akin to a modern day biblical, or zen, prophet- complete with his own burning bush, wandering in the desert, speaking in tongues.

800 works in, I’m listening harder than ever.

*- Soundtrack for this Post is “Desolation Row” by Bob Dylan, from the classic “Highway 61 Revisited,” and published by Bob Dylan Music Co.

Special thanks to kitty, who’s research assistance made thiys Post possible.

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  1. 800 pieces, per the show’s audio guide, which you can still access, as I write this, here.
  2. Update- July 20- You can read my Post on “TH’ EXPLOSIYV SHORT T” here.
  3. (who passed in 2010. I wonder what he thought of these…