Raymond Pettibon at David Zwirner

Raymond Pettibon is on view at  David Zwirner from April 29th- June 24th, 2017.

"The artist's tenth solo show at gallery TH’ EXPLOSIYV SHOYRT T follows his collaborative presentations with Marcel Dzama at the gallery in both London and New York last year.

Pettibon's work embraces a wide spectrum of American high and low culture, from the deviations of marginal youth to art history, sports, religion, politics, sexuality, and literature. Taking their point of departure in the Southern California punk-rock scene of the late 1970s and 1980s and the do-it-yourself aesthetic of album covers, comics, concert flyers, and fanzines that characterized the movement, his drawings have come to occupy their own genre of potent and dynamic artistic commentary.

The exhibition includes drawings and collages—a relatively new introduction within the artist's oeuvre—in Pettibon's characteristic bold style. The title (here rewritten using the artist's personalized spelling) refers to a 1963 book by legendary American football coach Homer Rice, which details his variation on the so-called T-formation, the precursor to most modern offensive formations in the sport. The potent and aggressive associations of the phrase are echoed throughout the works on view, which shrewdly address facets of contemporary American life.

In keeping with Pettibon's practice, most of the works pair image and text, with each informing the other in a circular fashion. Ranging from a few words to a number of paragraphs, the often rhythmic prose reflects the artist's longstanding interest in poetry and philosophy. Quoting freely from sources such as John Ruskin, Walt Whitman, Jacques Derrida, the Bible, and social media, and often adding self-coined expressions, the handwritten words complement Pettibon's bold imagery in adding humor and unexpected layers to the subject matter. Vintage cartoons by artists such as Charles Addams and Peter Arno are a new influence behind some of the works included in the exhibition, presenting an additional narrative component to his motifs. "



Pope. L at Mitchell-Innes & Nash

Pope. L on view at Mitchell-Innes & Nash from May 23rd- June 30, 2017. 

"Pope.L began making Proto-Skin Sets and Communication Devices in the 1970s and 1980s while he was a student at Montclair State University in New Jersey and continued working with them throughout his teaching tenure at Bates College in Maine. Using language and writing as a starting point, these works anticipate his ongoing project “Skin Sets,” text-based works that employ language to construct pointed, absurd, and layered messages about the vagaries of color.

The Proto-Skin Sets use found materials like local newspapers, commercial poster boards, and billboard advertisements as a point of departure to examine the possibilities of language. Pope.L interpolates the methods and uses of writing, both visually and literarily. Seeing language as image and image as language, Pope.L uses texture and mark-making to make these definitions concrete. He incorporates organic materials to speak about duration—for example peanut butter, semen, and human hair—in several of the works, something he has done subsequently throughout his practice."

Wordy Advertisement, 1983-2013

Wordy Advertisement, 1983-2013

Mal Content, 1992

Mal Content, 1992

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Yet Another Excuse, 1989-2013

Yet Another Excuse, 1989-2013


Tinker Tantrum – The Show with Pippa Garner

It's fantastic to experience a long overdue show that showcases Pippa's brilliance and cultural awareness. Over the subsequent four decades Pippa Garner has pushed back against systems of consumerism, marketing and waste, creating a rich body of work including drawing, performance, sculpture, video and installation. Her uncompromising approach to life and practice has allowed her to interact with the worlds of illustra- tion, editorial, television and art without ever quite becoming beholden to them.

Pippa Garner’s first exhibition at Redling Fine Art includes a suite of early invention drawings as well as Garner’s original art from her monthly editorial page in Car & Driver (1995 - 2010) as well as in the pages of L.A. Magazine. All in pencil, these works show the breadth of Garner’s dry humor and political thinking. Also on view Garner’s 2007 work the "World's Most Fuel-Efficient Car,” a 1972 Honda 600 retrofitted to be human-powered, and Garner’s latest sculpture “Crowd Shroud”. Through these sculptures Garner toys with concepts of class and waste, pointing to the invisible labor that makes our culture possible, and more specifically the inefficiency inherent in using 3,000 pounds of metal to move 150 pound bodies. These works point to the invisible labor that makes this possible. Alongside these works is a mandala of hand- made t-shirts. These graphic collages and her recent shirts are part performance part mode-of-production, as Garner has con- structed these works daily for over 10 years. Finally a selection of Garner’s video work dated 2013 is in- cluded. In these campy videos Garner portrays both a pre- and post- transition version of herself tackling topics such as procreation, drones, marriage, art, invention and therapy.