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拍品專文
Commenting upon American ‘high’ and ‘low’ culture in
equal measure, Raymond Pettibon’s work looks to a variety
of sources and explores several territories including the
Southern California counter-movement of the late 1960s, the
punk-rock milieu that formed in the late 1970s and 1980s and
present-day artistic discourse. A compilation of ten framed
images, each drawing is completed in Pettibon’s signature
style, with thick black ink creating contrasting stories on
paper. In juxtaposing comic book style images with ironic
and humorous verbiage, Pettibon was able to realize a new
and highly affective visual language. Pettibon’s wry semantic
mirrors the contemporary world, in which modern industrial
society is constantly bombarded with blends of images and
texts. Like Ed Ruscha, Pettibon considers text an important
element which transforms his art making into a process of
self-identification with the world, of establishing a correlation
between his personal view and the public discourse?
Blending journalistic jargon with popular culture imagery,
Pettibon infused poetry that drills deep into the American
psyche, providing commentary to various subjects, whether
sport stars, celebrities, politicians, policemen, or anonymous
American citizens. Raymond Pettibon claimed that his work
is ‘reportage, which you weren’t ever going to see from
the journalistic institutions that were supposed to be doing
that… the editorial pages of the Washington Post and New
York Times… they’re nothing but cartoonish. Really. I’m
stuck doing their reportage’ (R. Pettibon quoted in ‘Raymond
Pettibon: punk with a pencil’ in The Guardian, 14 December
2013, http:/www.theguardian.com/artanddesign/2013/
dec/14/raymond-pettibon-sonic-youth-black-flag [accessed
11th August 2014]). These provocative narrative panels
create worlds that run alongside everyday reality and provide
much stimulus for further analysis, as despite the apparent
story running through each work, a single meaning does not
surface. His talented draftsmanship, combined convincingly
with the cartoonlike, economical style of his representations,
speaks swiftly and freely about contemporary culture.
equal measure, Raymond Pettibon’s work looks to a variety
of sources and explores several territories including the
Southern California counter-movement of the late 1960s, the
punk-rock milieu that formed in the late 1970s and 1980s and
present-day artistic discourse. A compilation of ten framed
images, each drawing is completed in Pettibon’s signature
style, with thick black ink creating contrasting stories on
paper. In juxtaposing comic book style images with ironic
and humorous verbiage, Pettibon was able to realize a new
and highly affective visual language. Pettibon’s wry semantic
mirrors the contemporary world, in which modern industrial
society is constantly bombarded with blends of images and
texts. Like Ed Ruscha, Pettibon considers text an important
element which transforms his art making into a process of
self-identification with the world, of establishing a correlation
between his personal view and the public discourse?
Blending journalistic jargon with popular culture imagery,
Pettibon infused poetry that drills deep into the American
psyche, providing commentary to various subjects, whether
sport stars, celebrities, politicians, policemen, or anonymous
American citizens. Raymond Pettibon claimed that his work
is ‘reportage, which you weren’t ever going to see from
the journalistic institutions that were supposed to be doing
that… the editorial pages of the Washington Post and New
York Times… they’re nothing but cartoonish. Really. I’m
stuck doing their reportage’ (R. Pettibon quoted in ‘Raymond
Pettibon: punk with a pencil’ in The Guardian, 14 December
2013, http:/www.theguardian.com/artanddesign/2013/
dec/14/raymond-pettibon-sonic-youth-black-flag [accessed
11th August 2014]). These provocative narrative panels
create worlds that run alongside everyday reality and provide
much stimulus for further analysis, as despite the apparent
story running through each work, a single meaning does not
surface. His talented draftsmanship, combined convincingly
with the cartoonlike, economical style of his representations,
speaks swiftly and freely about contemporary culture.