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Sadie Coles HQ’s fourth exhibition with American artist Raymond Pettibon comprises an extensive series of recent drawings which manifest his art at its most eclectic.

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Densely hung acros s the walls\, the drawings involve Pettibon’s characteristic integration of disparate imagery and fragments of handwritten text lifted and adapted fro m myriad sources. His style shifts fitfully within and between the works\, ranging from graphic line drawing in charcoal (for instance\, a rapidly cro sshatched Bible) which invokes his early cartoons\, to expressionistic and painterly forms executed in combinations of gouache\, acrylic and crayon.

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Pettibon’s chaotic agglomerative method is equivalent to the ‘cut up’ tec hnique adopted by Brion Gysin and William S. Burroughs in their book Th e Third Mind (1977). In an extension of this methodology\, certain of Pettibon’s recent works literally employ collage. In No Title (Re- peri scope)\, pornographic excerpts from different drawings mass together i nto a bustling orgy\, and a scribbled cartoon of a gun being discharged pro vides a comic superscript.

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Pettibon’s quotations\, aphorisms and fragmen ts of dialogue – free-floating and suspended from context – vary between ab surd interpolations and apposite subscripts. The result is a continual lurc h in mood – from the sensationalist to the mundane to the absurdist to the poetically ambivalent. A blotted Rorschach design is given the wry tagline “Readers who have any tincture of psychology know how much is to be inferre d from this”. In No Title (Be content at)\, John Ruskin’s instruct ions on drawing (“Be content at present if you find your hand gaining comma nd over the curves”) accompany an image of a naked woman holding her breast s – perhaps a parodic affront to Ruskin’s supposed sexual reticence.

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Rel igious and art-historical tropes are paraphrased and bastardised it the sam e way as quotations and words (“Tryck Whutuyp” written beside Christ on the cross\, is an invented variant of “whattup” or “whassup”). Christ and skul ls appear variously\, while a bowl of fruit suggests an improvisatory still life.

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Many of the works also revisit enduring themes and figures which have recurred throughout Pettibons’ career. Baseball players appear in work s including Not Title (A kop\, skiyp) showing a lumbering figure b owling\, or in a randomly-inserted mugshot of Johnny Broaca. As in much of Pettibon’s art\, the sordid underbelly of American life is repeatedly glimp sed: the gobbets of text in No Title (Do I bother)pictures a seedy nighclub\, its gobbets of text conveying the sexual tension between a sing er and dancer.

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Pettibon’s works muse continually on the power dynamic be tween image and text – the capacity for one to inflect or undermine the oth er. Certain works veer into an autobiographical and self-reflexive mode: No Title (Of myself what) portrays Pettibon in a sports jacket with the epithet “Team Comes First” (in what appears to be a fictional self-imag e). The work No Title (Missing accomplices. They) plays on its own fragmentariness through a jumble of extracted soundbites. These reflect th e slippery interflow of voices – whether public pronouncements\, internal s oliloquies\, media jargon\, clichés\, street slang or poetry – defining Pet tibon’s art.

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Raymond Pettibon was born in 1957 in Tusco n\, Arizona\, and studied at UCLA in Los Angeles. As a young graduate he wo rked as a maths teacher before embarking on an artistic career\, designing album covers for Black Flag and becoming associated with the Los Angeles Pu nk scene. In recent years Pettibon has numerous major solo shows including  Whuytuyp\, Kunstmuseum Luzern\, Lucerne\, Switzerland (2012)\; ‘v- boom’\, Kestnergesellschaft\, Hannover\, Germany (2007)\; Kunsthalle Wien\, Vienna\, Austria (2006)\; and Whitney Museum of American Art\, New York (2 005). Retrospectives of his work have been held at the Philadelphia Museum of Art\, the Santa Monica Museum of Art\, and the Museum of Contemporary Ar t\, Los Angeles. In 2010 Pettibon received the prestigious Oskar Kokoschka prize. Raymond Pettibon lives and works in Los Angeles.

DTEND:20121117 DTSTAMP:20140420T035511 DTSTART:20121003 GEO:51.5085675;-0.1515691 LOCATION:Sadie Coles HQ - South Audley St\,69 South Audley Street \nLondon\ , W1K 2QZ SEQUENCE:0 SUMMARY:RAYMOND PETTIBON\, Raymond Pettibon UID:238420 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140420T035511 DTSTART:180000 GEO:51.5085675;-0.1515691 LOCATION:Sadie Coles HQ - South Audley St\,69 South Audley Street \nLondon\ , W1K 2QZ SEQUENCE:0 SUMMARY:RAYMOND PETTIBON\, Raymond Pettibon UID:238806 END:VEVENT END:VCALENDAR