Maya’s above works are all done with acrylic paint on canvas, paper and wood.  She’s been previously featured in KK .  I sense she pulls from a spiritual source in the layout of  her flamboyantly colored schemes, boombastic patterns, kaleidoscope-origami-like pieces influenced by her Ukrainian up bringing, in how she solicits her viewers to get a sense their spirit is “emanating” from the crowns of their heads and up, if they were to sit or stand front of one specific mural she talks about in her third clip above (from top to bottom). She expressed growing up in a music world where artwork was only really visible to the American masses on posters or were reserved for museums or galleries and also seen on album covers too, where  idolizing Roger Dean’s covers alike, was her norm. Another of  Maya’s favorite artists whose identity became well-known in the cover art circles was Raymond Pettibon whose art was  featured on many an album such as Sonic Youth and Black Flag. There is a comparison Maya makes in that back then art was predominantly captured in music  zines, and covers, and describes art now as a “global international awesome collective of people”  inspired by one another on the same wavelength.  I relate to her in one of  her rituals, where she puts a song on auto replay for hours, I do the same in tapping into my own inspiration. Music sets much spontaneity free, it helps us peak, much like a good movie, delicious food or sexual pleasure. Everything around us provokes thought and raises questions in reaction to.  Maya touched on some interesting history, her artistic trajectory from then to now.  Live and learn. Dixie Rose

via youtube
via Beautiful Decay

Este fin de semana, Thurston Moore de Sonic Youth,  ha anunciado el próximo lanzamiento de Ecstatic Peace Library ( que comparte nombre con lacompañía discográfica de la que Él es fundador), un editor boutique de libros de arte para debutar en el 2010.

Catálogos de los lanzamientos iniciales están siendo distribuidos en Nueva York este fin de semana de la New York Art Book Fair y estará disponible en el website de la editorial el 1 de enero.

El editor tiene la intención de liberar a los libros de arte en conjunto con las grabaciones de los artistas-autores, programado para incluir a Raymond Pettibon, Dave Markey y Kim Gordon, su esposa y su compañera de banda.
Moore, conocido por su guitarra inventiva, disonante, también ha escrito, editado y arte dirigido más de una docena de libros, incluyendo Mixtape: The Art of Cassette Culture,” “We’re Desperate: The Punk Rock Photography of Jim Jocoy,” “Punk House: Interiors in Anarchy” y “No Wave: Post Punk. Underground. New York.”
Lee Ranaldo, el otro guitarrista disonante en Sonic Youth, es también un autor, habiendo publicado “Tour diaries with Soft Skull Pressy” otras obras con editoriales independientes.
Los libros de la biblioteca se distribuyen a través de D.A.P./ Distributed Art Publishers, búsquenlos en las librerías con cool artsy books y librerías museo cerca de usted.

vía: Jacket Copy

No Title (Drunk on ink…) 1990

No Title (Be this as it may…) 1998

No Title (The burial ground…) 2005

No Title (Not a mover…) 2003

“Los Angeles spread itself out before me. I used a gun to get in.” – Raymond Pettibon.

Based in California, US-artist Raymond Pettibon is one of the most thorough chroniclers of American milieus of popular culture. A Goya of our times, whose “Desastres” depict less the wars actually raged than the confrontations taking place inside peoples heads, the battles between youth cultures, and the cops-’n'-robbers games transfixed into durable and quotable shape in the repertoire of images provided by film noir.

Pettibon’s art is based on the aesthetics of the in-between and predicted by the formal instability that proffers endless metamorphoses ranging from the concreteness of the traditional pictorial programs to the most variegated levels of abstraction. It is easy to get lost in his works, seduced by the confusing splinter of a thought that drills into the aesthetic configuration and causes an entire context of meaning to explode.

Raymond Pettibon
Whatever It Is You’re Looking For You Won’t Find It Here.

___

Raymond Pettibon

Kuntshalle Wien

B

dear news people,

please remove yr lips from mccartney’s flaccid leathery cock and stop shamelessly hawking beatles rockband itunes merch.

it’s not new.  it’s not news.

it’s becoming tiresome.

thanks,

cajf

1. the meatmen: 1 down 3 to go
2. an untitled musical project: why isn’t paul mccartney dead already?

SOUNDTRACK: SONIC YOUTH-Goo (1990).

I’m not sure exactly why this Sonic Youth album was the first one I really got into.  I assume it’s because I was working at the radio station and probably got a bit of hype about their switch to DGC records.

And, say what you will about DGC being a major label, DG had some really great taste at the dawn of that label.

Goo and Dirty are sort of lumped into a kind of sellout phase for SY.  But  Goo is certainly harsher than Daydream Nation, and yet it also seems to flirt with the mainstream (with Chuck D appearing on it, and “Goo” having something resembling a sing-along chorus”).

Yet “Mary-Christ”  has a crazy background vocal section.  Kool Thing, the one with Chuck D, has a catchy enough chorus but the squealing guitars are very harsh.

Lee’s “Mote” is probably the catchiest song on the disc, although really the middle section has these sort of smooth songs like “Mote” and “Disappearer.”  But with “Mildred Pierce,” you get the scariest , most abrasive ending to a song you can imagine (and from what starts as a really pretty instrumental too).  And “Scooter and Jinx” is pretty much just a minute full of noise.

While 1991 may have been the year that punk broke, it’s Goo, complete with its Raymond Pettibon cover that sent punk, kicking and screaming, mostly screaming, into the mainstream.  All ready for Nirvana to smash the door wide open.

I just looked up Raymond Pettibon and learned that he is Greg Ginn’s brother.  Ginn founded Black Flag and of course Pettibon (whose real name is also Ginn) did virtually all the artwork.  I would even daresay that it was Black Flag that propelled Pettibon into underground fame…  he even outlasted the band that gave him his fame.  Wow, thanks Wikipedia.

[READ: July 5, 2009] “A Guide to Summer Sun Protection”

I don’t normally mention the Shouts & Murmurs one-page items from the New Yorker, but since Zev Borow is in pretty much all the McSweeney’s I’ve been reading, I thought I’d bring him up again.

The Shouts & Murmurs are funny pieces; often I find that they should be one or two paragraphs shorter than they wind up being (but given the length of the section, it certainly has length requirements.

This one is about Sunscreen and SPFs and is extrapolated on from an article in the Times about a new SPF of 100. Borow creates a guide for consumers as to the meanings of SPF ratings.

It goes from 4 to 233(!). The first line cracked me up, but it was the explanation of 12 that had me really laughing:

SPF 12—Great for practical jokes, if your idea of funny is making someone think they are protected from the sun’s seriously fucking powerful and harmful rays when they’re actually not. Bonus: Comes with an “I AM, OR ONE DAY WILL BE, A DANGEROUSLY NEGLECTFUL PARENT” visor.

It’s available here.

right.  time to catch up on my correspondence.  buncha people wrote me or posted stuff or sent links.  and i paid jack shit hee haw not the slightest fucking heed.  then everything fell apart for a while.  but shit is back.  and shit is better than ever.

first up some fellas from tokyo.  tokyo japan.  lest there be any misunderstanding.

peddling a kind of math-y uberrock not unlike the mighty don (caballero).  or a pop(pier) version of mono.  nah that’s horseshite.  more like shellac than mono.  it’s instrumental in the best possible way.  no ponderous pretentious fucking about with pedals and delays.  just balls to the wall rifforamas.

intricate but not delicate.  like being beaten round the head by robert fripp at his most vicious.  don’t be fooled by the name.  they’re all kinds of full fat sugared up and chock bustin with proper boozed up alkyhol.

why should you lissen?  well they toured and released with mike watt.  from minutemen / firehose / banyan (not so much for me) / stooges infamy.  mike watt fer chrissakes.  and art by raymond pettibon.  pettibon fer chrissakes.

anyway if you dig oxes and dysrhythmia and all that complex jazzed up geetar rock you should dig this.

1. ghost dance
2. human gift
3. tomorrow

go here:

litespace / liteweb / transduction

anna videos to eyeball:

Here’s a great little interview with KAWS done by the guys over at La MJC. They caught up with him in Paris where “STAGES” exhibition has just opened. A combined effort by Lance Armstrong, a long-time supporter or contemporary arts and Nike to raise money and awareness for the Livestrong Foundation in the fight against cancer. They’ve teamed up with top artists such as Ed Ruscha, Tom Sachs, Eric White, Christopher Wool, Shepard Fairey, Kaws, Cai Guo-Qiang, Yoshitomo Nara, Jose Parla, Richard Prince and Raymond Pettibon to name a few. The exhibit runs July 17th, 2009 thru August 8th, 2009.

Galerie Emmanuel Perrotin

76, rue de Turenne
75003 Paris, France
+33 1 42 16 79 79

Play this video while reading this blog post – it might be my favorite Sonic Youth song – before the show tonight (at the Vic in Chicago) I made a list of the ten songs I most wanted to hear them play tonight, and they played none of them, and I still loved the show, and I wonder how many other bands that might be true for.  So often at a concert – one without a set program – there’s always that one song you’re waiting to hear.  So while “Disappearer” and “Teenage Riot” and “Stones” and “Tuff Gnarl” were not on the setlight, it was filled with gems from Daydream Nation, Sister, and even their debut, Sonic Youth.  Point being, what other bands formed in 1981 are not only still touring, but also creating relevant, innovative music and performing it alongside of their first steps together.  That shows tremendous faith in themselves as artists and the music they create, and it just a part of my excitement about them.  Here’s another: the amazing list of artists who have create their album covers.  I’ve visited the Art Institute of Chicago a few times in recent weeks, and seen works by many of the artists who have collaborated with the band: Raymond Pettibon, Mike Kelly, Gerhard Richter, and Jeff Wall.  That intersection of image and sound, showcasing forward-thinking creativity – cetainly worthy of a paragraph of blog drooling, along with a pile of cd’s and a pair of tickets to see them again a month from now in Milwaukee. 

So at what point does the creation of art turn from being a personal expression to being something for an audience, having to break the rules in order to express a vision of the world.  Coltrane did it by re-inventing the sounds of the tenor and soprano saxophones; Grateful Dead did it by swallowing blues, bluegrass, folk, jazz, and rock music, digesting them and spitting them out in ways that continued to evolve over the course of a nearly 30 year career; Sonic Youth did it by re-tuning their instruments, experimenting with their electronics (indeed there are custom Fender Lee Ranaldo and Thurston Moore Jazzmaster guitars coming out next month).  But Toni Morrison, Emily Dickinson, Walt Whitman, James Joyce and others did it with their words.  Monet, Pollack, Warhol, and others did it with their art.  So does one need to know their art form before breaking the rules?  How well?  Is a wholesale re-inventing of the rules part of the key to creating something lasting and relevant?  This blog will continue to ask that very question – but for now, I’m out of batteries – one rule that can’t be broken.

Raymond Pettibon, Interview Magazine, December/January 2009

For Erin

R

Source/Artists:
Milano Chow
Raymond Pettibon
Lucas Soi

Mad props to Juxtapoz Magazine for choosing LA artist Raymond Pettibon as their cover artist for issue 100!  It’s hard to believe the mag has been around for 100 issues already- helping turn urban, street, and low brow art into something legit.  The artwork of Pettibon is a perfect match- somewhat dangerous and a figurative middle finger to the establishment- not unlike Juxtapoz itself. Pettibon has been turning out artwork for bands like The Minutemen, Black Flag, and Sonic Youth for decades now.  Raymond is also known for his graphic images and broad paint strokes while often adding text to his paintings and mixed media.  He has been featured in several art magazines in the past and also has a few of his own books out there if you can find them.  Not bad for a kid who used to hustle hand made ‘zines and concert fliers out of his bedroom!

Perhaps the best idea for a fundraising event ever (after date auctions!), the Santa Monica Museum of Art sells tickets to donors for $300 that allow them to select from over 650 original 8”x10” pieces of art donated by a variety of artists.  Part of the excitement comes from the fact that the artists’ names aren’t displayed when donors select their artworks, only after they choose…which means that some people with a good eye and a little bit of luck can score pieces by the likes of Ed Ruscha, John Baldessari, and Gary Baseman.  Check out an article from the Los Angeles Times here.

Just to give some monetary perspective, another contributor to this charity event was artist Raymond Pettibon.  Pictured above is his small 1998 Untitled (Noticing the wave…) that hits the auction block this month at Phillips de Pury & Company with an estimate of $10,000-$15,000.

Regardless, what an awesome event for a good cause– I don’t know of an NYC institution that does anything like this on a similar scale.  Let me know if you do!

BARRY McGEE / ED TEMPLETON / RAYMOND PETTIBON

curated by Aaron Rose

EXHIBITION: 10TH of APRIL TO the 30TH of MAY 2009

TUESDAY TO SATURDAY, 2 PM – 6 PM

CIRCLECULTURE Galerie: http://www.circleculture-gallery.com

Gipsstrasse 11

10119 Berlin . Germany

New exhibit just opened in Berlin, pictures below

montagem da exposição na Galeria Zwirner

Há um ano atrás, a prestigiada revista October enviou um questionário a artistas e intelectuais em que fazia perguntas relativas à guerra no Iraque. Entre outras dúvidas, a publicação queria saber se os entrevistados reagiam de alguma forma à invasão americana e ocupação americana e como faziam iso. De forma lúcida, o pintor norte-americano Raymond Pettibon respondeu com o que faz melhor:  Enviou aos editores três belos desenhos da série que ele havia exposto em 2007, na Galeria de David Zwirner. A mostra se chamava Here’s Your Irony Back (The Big Picture) um dos assuntos era política externa norte-americana para o Oriente médio.

As pranchas tratam da relação do presidente Bush com a guerra. São cruas, diretas e sem cor. Sem cor, elas melhoraram. São companhadas de texto, se parecem com cartuns e têm, ao mesmo tempo, algo dos fanzines punk e de uma cultura da imagem existente nos Estados Unidos desde o século XIX. Em preto e branco, eles se parecem com o trabalho que o artista realizava nos seus primórdios. Aliás, eu prefiro quando essa carga de violência dá as caras na sua obra.

Pettibon vem da cena hardcore americana. É irmão de Greg Ginn,o guitarrista do Black Flag e dono do selo SST. Na sua juventude foi o autor de boa parte das imagens do underground dos Estados Unidos. Minutemen, Saccharine Trust, Sonic Youth, Circle Jerks, Fear, todos passaram pela pena de Pettibon. Entre outras coisas, ele é o autor do famoso logo do Black Flag. Seu vínculo com o Minutemen é tão profundo quanto com o Black Flag. Talvez até mais. O artista identifica o trio de Mike Watt, George Hurley e o finado D. Boon como importantes interlocutores. Acredito que isso aconteça pelo aspecto mais vanguardista do grupo e pela relação de amor ambígua que eles têm com a chamada americana.

Embora seu trabalho preserve muito do espírito DIY, não dá para considerá-lo um artista popular. Ele tem os pés fincados na tradição da arte americana. E olha para uma cultura de imagens com um olhar muito culto. Aliás, o artista é de uma erudição danada. Articula elementos da historiografia do seu país com uma iconografia que seus patrícios querem apagar da memória. Tudo pintado com tintas heróicas, bem ao estilo norte americano, mesmo quando vagabundas. Ele é uma artista que não poderia ter nascido em outro lugar. Lida mais com uma história nacional da arte do que com uma narrativa mais universal.

Here's Your Irony Back

Mesmo que declare a sua admiração a escritores irlandeses como Laurence Sterne e James Joyce, acima de quaisquer outros, o que lhe importa é a experiência do seu país.  Ele procura a audácia narrativa de seus ídolo, como eles também, apartir de um retrato da vida do dia a dia. Como os grandes escritores dos EUA procuram the great american novel, ele parece com o olho voltado para o great american drawn. Talvez por isso as suas imagens sejam tão eficazes.

Lado a lado, ele coloca a violência de Melville e a placidez de Fairfield Porter, por exemplo, Woddy Guthrie, Edgard Alan Poe e as pinturas iniciais de Warhol. Hoje, ele, junto com Paul McCarthy, Kara Walker, Cindy Sherman  e Richard Prince, talvez seja um dos artistas americanos que leva essa cultura de imagens  e ícones americanos mais a sério.

Sem título (I Wish I). 2007

Sem título (If Tom Cruise). 2007

Sem título (You killed—Murdered—). 2007. Todos os trabalhos são da galeria de David Zwirner

A arte crítica ao establishment dos Estados Unidos não vem de hoje. Aliás, é fundadora da cultura deles. Em 1971, o grande pintor Philip Guston fez uma série de desenhos entitulada Poor Richard. Lá, na forma de cartum, o artista desenhava peripécias do 37° presidente americano.

Nixon era representado com uma gigantesca cara de piroca que ostentava os seus títulos não menos rídiculos. Colocamos alguns desenhos aqui, mas quem disponibiliza tudo são os nossos amigos do Ubu web.

Esse tipo de figuração dos Estados Unidos apareceu tarde na obra de Philip Guston. Na década de quarenta o artista fez trabalhos figurativos e  politizados, mas visualmente eles se pareciam mais com a pintura mexicana da época, realismo socialista. De lá, ele só melhorou. O reconhecimento como um dos grandes nomes da arte moderna veio de sua pintura abstrata e lírica.

Mas no fim da década de sessenta, resolveu figurar elementos pegajosos da cultura de massa dos EUA.Muitos vêm essa pintura como uma espécie de reação à pop (que lhe interessava). À vida superficial, veloz e alienada ele respondia colocando toneladas de carne na sua pintura. Como nos quadrinhos, ele relatava o que havia de patético ali.

O seu amigo Philip Roth relatou essa relação de uma maneira mais bonita e esclarecedora:

O que Philip descobrira era o terror que emana dos utensílios mais comuns do mundo da completa estupidez. A visão nada enobrecedora  das coisas que ele aprendera com os quadrinhos que lia nos jornais na sua fase de formação, numa família de imigrantes judeus na Califórnia, a vulgaridade americana pela qual, mesmo no auge de sua fase lírica e meditativa, como intelectual ele sempre tivera um fraco, passou a ser vista — de um modo fácil de entender para os leitores de Molloy e de O castelo — como se sua vida, tanto como artista quanto como homem, dependesse disso. Essas imagens populares de uma realidade superficial eram imbuídas por ele de tamanha carga de sofrimento pessoal e intensidade artística que deram forma a uma nova paisagem americana de terror

Acrescentaria, que esse terror era feito com humor, um humor patético, mas engraçado.

Julguem por vocês:

mais no ubu

Iram Martínez / revistawego@gmail.comLa Galería

Montana estrena nuevo local con la obra gráfica del colectivo “Beautiful Loser” que llega a Sevilla con artistas de la talla de Obey, Kaws, Larry Clark, Spike Jonze o Andy Jenkins, a los que se suma una larga lista de representantes de los movimientos punk, hip-hop y skate en EEUU. La exposición se inaugura hoy 24 de marzo a las 20:00 h. en la nueva sede de Montana, que se traslada a Pasaje Mallol, 10ac. (mapa)

Pintores, diseñadores y fotógrafos se unen en esta exposición colectiva que sigue fiel a la promoción del arte urbano, así como de artistas que iniciaron su trabajo en las calles de cualquier ciudad del mundo.

“Grafika” es una exposición de obra gráfica, objetos y ediciones varias que explora el trabajo de un grupo diverso de artistas visuales surgidos en la cultura urbana alternativa en torno a las escenas del skateboard, graffiti, punk y hip hop en Estados Unidos. El proyecto inicial que los agrupó, “Beautiful Losers”, fue un proyecto de Christian Strike y Aaron Rose.

Cincuenta piezas de disciplinas artísticas tales como serigrafía, escultura, fotografía, revistas, fanzines, camisetas y objetos realizados por esa treintena de artistas que han emergido en la última década del s. XX y son descendientes directos de Andy Warhol, Jean-Michel Basquiat y Keith Haring.

Lo que empezó siendo un movimiento juvenil ha desembocado en un fenómeno social. De hecho, algunos de ellos ya son considerados por el mundo del arte como valores seguros y ejemplos a seguir dentro de las nuevas corrientes culturales de nuestro siglo.

La exposición estará abierta al público hasta el 16 de mayo de lunes a viernes de 11:00 a 14:15 y de 17:00 a 20:15 h. Sábados de 11:00 a 14:15 h.

So Target, yes Target, came out with a line of beach towels with designs from modern artists. I hate to say it but they are kinda dope. 

This one is done by Ed Ruscha

These are two of my favorites. They run you like 50 ducks which is kinda spency for a beach towel, but then again you can’t put a price on art can you! 

The other artists include Karen Kilimnick, Jeff Koons, Alex Katz, Julian Schnabel, and Elizabeth Peyton. You can cop them here. 

Raymond Pettibon

surfs up bra

z.

Good god,

I thought for about one minute that Mr. Pettibon may have been quirky,eccentric and interesting based on his unusual oratory skills. I was however, so fucking wrong.

Children, this is what happens when you’ve taken one to many bong rips to the dome. I could barely resist the urge to go up and pound on his back while yelling “just get it out”. His speech was punctuated with so many non sequiturs and the increasingly frustrating inability to answer a question.

Here’s some highlights….

When discussing his baseball related work he instead opted to speak for 20 minutes about some obscure play in a game AT LENGTH, as if it had just occurred or was somehow relevant to his process. Hi, we’re at an art school and no one needs a play-by-play of a game that happened 40 years ago.

He chastized the audience for being at his talk rather than being “in Oakland”. Uhhh, excuse me? I would really like to make my own decisions about whether the whole Oscar Grant/Bart shooting incident and did he have any idea that there was a whole lot of reckless violence that coincided with protests.

Anyway, I could go on for ever about how much Raymond Pettibon killed my boner for him. I’m not saying I fancied him, but I would’ve preferred to keep him on a pedestal with all my heroes of yore.

Instead, he gets onstage in a sloppy dress shirt buttoned wrong and spills beer on himself every time he swigs and plays in  a sucky band where he reads lyric sheets and stomps off angrily in the middle of his set after fighting with his bandmates.

Do me a favor and don’t go see him.

give a talk about art and related concepts such as baseball a little later today.

If you live in San Francisco you should march your ass over to the Potrero Hill Campus of CCA in the Neve at 1111 Eighth Street. It’s accesible via the #19 Polk, the #15 and the #22 Fillmore. GOOGLE THAT SHIT.
Starts@7 but is likely to be at capacity (150) quickly

I hope to post the highlights tomorrow

I posted a link to Pettibon in the studio preparing for the above show. Supertouch has extensive coverage and a great set of photos of the finished work.

Check it.

Let’s get right to it with this weeks edition of 5 Artists I like.

god has a plan to kill me 1/2 Anthony Lister 2008

Percolator Stuart Davis 1927

Raymond Pettibon 2007

Let It Ride Sloe Margaret Kilgallen 1999

Viet Nam Will Win Rene Mederos Pazos 1972

The Twilight Sad - The Twilight Sad Killed My Parents And Hit The Road (2008, Fat Cat)

Les écossais de The Twilight Sad, à l’occasion de leur tournée européenne avec Mogwai, ont réalisé ce mini album qui compile inédits, instrumentaux, reprises et titres live. Si le visuel de ce disque présenté dans une simple pochette cartonnée reprend l’univers graphique développé autour de l’album Fourteen Autumns & Fifteen Winters (2007, Fat Cat), la référence à Sonic Youth passera difficilement inaperçue.

Le tracklisting est le suivant:
01. Walking For Two Hours
02. That Summer, At Home I Had Become The Invisible Boy
03. Untitled #28
04. Cold Days From The Birdhouse
05. And She Would Darken The Memory
06. Twenty Four Hours – reprise de Joy Division
07. The Wealther Is Bad
08. Half A Person - reprise des Smiths
09. Untitled #27
10. Modern Romance – reprise des Yeah Yeah Yeahs
11. I Was Hoping Winter Was Over

Sonic Youth - Goo (1990, DGC/Geffen)

Goo est un classique de 1990 du groupe culte  Sonic Youth dont la pochette a été réalisée par Raymond Pettitbon, artiste né en 1957 à Tucson dans l’Arizona qui s’est fait connaître grâce à ses dessins lors de l’émergence du mouvement punk.