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Raymond Pettibon and The Soft Clay of our Generation

Author Raymond Pettibon
·6 min read

Raymond Pettibon

All I am really asking is for you to look at Gumby with the same kind of respect that you would if it was some historical figure or Greek statue
All I am really asking is for you to look at Gumby with the same kind of respect that you would if it was some historical figure or Greek statue
All I am really asking is for you to look at Gumby with the same kind of respect that you would if it was some historical figure or Greek statue

New York City, New York , Nov. 14, 2020 (GLOBE NEWSWIRE) -- Text by Sozita Goudouna

All I am really asking is for you to look at Gumby with the same kind of respect that you would if it was some historical figure or Greek statue [1]

Raymond Pettibon Solo show at The Journal Gallery

“He did work at Macy’s for a time, where he amused himself by teaching parrots to say motherfucker but that didn’t work at all”

Curated by Sozita Goudouna

Finissage November 26, 2020

45 White st, NYC, 10013

Store window displays were used in the ’50s and ’60s to launch art careers. In the daytime, artists, like Andy Warhol, painted billboards and designed display windows for Bonwit Teller, Tiffany, and Bloomingdale’s. Warhol was one of the artists who understood the potential of the store-front window to promote the idea of “art as advertising.” These store window displays featured paintings based on comic book strips and newspaper advertisements.

Raymond Pettibon I , Untitled (He did work at Macy’s for a time,
where he amused himself by teaching parrots to say motherfucker
but that didn’t work at all), 2020, Wall Painting.

Raymond Pettibon II No Title (We have read…),
2020 Ink and colored pencil on paper

Raymond Pettibon II No Title (James Joyce “Ulysses”…),
Those of a Lower Clay — This Year’s Best Shock-Novel, 1989

Raymond Pettibon’s show title, “He did work at Macy’s for a time, where he amused himself by teaching parrots to say motherfucker but that didn’t work at all,” refers to this moment in history, but also to The Journal’s decision to feature a single work in an isolated room behind the window glass. Pettibon, one of the most prominent American artists, is particularly drawn to popular culture, however, the nexus between words and images, and the dialectical impulse in his work, reveal his complicated relationship to the legacies of popular art and the ways it operates in American psyche and ideology. For Raymond, every insight is almost the inversion of the previous, and his oeuvre is in a continuous dialogue (or struggle) with itself, back and forth. As he mentions, drawing from William Empson and his Seven Types of Ambiguity, ‘one of the ways of being ambiguous is by being apparently direct.’

Pettibon is also particularly drawn to books — pages, paragraphs, sentences, phrases, words — while his character, Gumby, can walk into and out of any book and page, with his pony pal Pokey, too, who is royally “bred in purple” in the piece No Title (Bred in the…). As Raymond states, ‘if you ‘ve got a heart then Gumby’s a part of you. Gumby’s mission is to play, really. His mission is to play and have fun.’ However, Gumbies are also agents of change. The exhibition features two booksmart Gumby pieces, No Title (We have read…) and No Title (At the instant…) that attempt to “read(e)fine” history when they are in the mood and a Gumby wall painting with a Pettibon motif, the cover of the Bible, used here as a reminder that the supreme court shouldn’t always judge by the book.

In Pettibon’s work sometimes Gumby does change history, or as Raymond says ‘he becomes a part or an agent of historical change for the better. I don’t know if Gumby ultimately actually changes things, that would be kind of like interventionism as it’s practiced. Of course I would go back in time if I could. If I was Gumby and could rewrite history, I ‘d end slavery and do obvious things that were there before…’[2]

In Raymond’s 1989 fanzine, entitled Those of a Lower Clay — This Year’s Best Shock-Novel, Gumby comes out of the cover of Joyce’s Ulysses and admits that he looks more like the polymorphous female character Goo — such at least was to be the “force of the Joyce imprint in the soft clay of our generation.” Pettibon is particularly drawn to James Joyce, and it seems that he is also a synthesizer, as Samuel Beckett used to say for Joyce. According to Beckett, Joyce ‘wanted to put everything, the whole of human culture, into one or two books… the more Joyce knew the more he could. He was tending toward omniscience and omnipotence as an artist.’[3] Nevertheless, by being apparently direct and by resisting omnipotence as an artist it seems that Raymond constantly rewrites everything he reads or sees, leaving a long-lasting imprint on our generation.

This solo show by Pettibon is the sequel of “Whoever Shows: Strike Uyp th’ Band!” a project curated by Sozita Goudouna and co-presented with Performa 19 Biennial at the New Museum. The stage reading featured a collection of excerpts from Pettibon’s scripts, including those originally produced for videos like The Whole World is Watching: Weatherman ’69 (1989–90), Sir Drone: A New Film About the New Beatles (1989–90), The Holes You Feel, Andy Warhol, Jim Morrison, and Batman. More at https://www.newmuseum.org/calendar/view/1586/raymond-pettibon-whoever-shows-strike-uyp-th-band

Raymond Pettibon (b. 1957 in Tucson, Arizona) graduated from the University of California, Los Angeles in 1977. His work has been the subject of numerous solo exhibitions at institutions around the world, including MoMA Museum of Modern Art (1998, 2001, 2003, 2005, 2006, 2009, 2014), the Renaissance Society, Chicago (1998); the Drawing Center, New York (1999); the Philadelphia Museum of Art (1999); the Museum of Contemporary Art, Los Angeles (1999); Museu d’Art Contemporani de Barcelona (2002); Museion, Bolzano, Italy (2003); the Whitney Museum of American Art, New York (2005); Centro de Arte Contemporáneo de Málaga, Spain (2006); Kunstmuseum Luzern, Lucerne, Switzerland (2012); Kumu Kunstimuuseum, Tallinn, Estonia (2015); Deichtorhallen Hamburg – Sammlung Falckenberg, Hamburg (2016); and Museum der Moderne Salzburg, Austria (2016). Pettibon has also participated in a number of important group exhibitions such as the Whitney Biennial (1991, 1993, 1997, and 2004), the Venice Biennale (1997 and 2003), Documenta XI (2002), and SITE Santa Fe (2004 and 2010). In 2017, the New Museum organized a major exhibition Pettibon’s work title A Pen of All Work which travelled to the Bonnefantenmuseum in Maastricht, the Netherlands. A related exhibition title The Cloud of Misreading travelled to the Garage Museum of Contemporary Art, Moscow. Pettibon currently lives and works in New York.

Sozita Goudouna is a curator, professor and the author of Beckett’s Breath (2018), published by Edinburgh University Press. She is head of operations at Raymond Pettibon Foundation. She has taught at New York University as the inaugural Andrew W. Mellon Curator at Performa Biennial NYC. Her internationally exhibited projects include participations at Performa Biennial in New York, Documenta, Onassis Foundation Festival, New Museum, Hunterian Museum, Benaki Museum, Byzantine Museum, EMST Contemporary Art Museum among others

Contact Information:

Sarah Guittar: Sarah@thejournalgallery.com
Phone: (718) 218-7148

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