1981 Pervert

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She didn't represent sun-up and pollen and blooming trees, but she spoke for far horizon, 2009 Vinyl And Uv Inks On Rives Bfk Paper 30 X 41 Inches
Love is like the sea, it takes its shape from the shore it meets, and it's different with every shore, 2009 Uv Inks On Rives Bfk Paper 46 X 36 Inches
Bawdy, 2009 Uv Inks On Rives Bfk Paper 9.5 X 13 Inches
Hussy, 2009 Uv Inks On Rives Bfk Paper 9.5 X 13 Inches
Kink, 2009 Uv Inks On Rives Bfk Paper 9.5 X 13 Inches
Peep, 2009 Uv Inks On Rives Bfk Paper 9.5 X 13 Inches
He's kissin your foot, and it ain't in a man to kiss a foot long, 2009 Vinyl And Uv Inks On Rives Bfk Paper 24 X 33.5 Inches
Any woman who walks in the way of power and property is bound to meet hate, 2009 Uv Inks On Rives Bfk Paper 48 X 34 Inches
Daylight was creepin around the cracks of the world, 2009 Uv Inks On Rives Bfk Paper 36 X 30 Inches
You ain't never seen me whem I'm out pleasurin' and givin pleasure, 2009 Uv Inks On Rives Bfk Paper 21.5 X 29 Inches
Wall installation, 2009
It was hard to love a woman that always made you feel so wishful, 2009 Vinyl And Uv Inks On Rives Bfk Paper 28.5 X 40 Inches
1981 Pervert

1 Sutter Street
Suite 300
San Francisco, CA 94104
July 2nd, 2009 - August 22nd, 2009
Opening: July 10th, 2009 5:00 PM - 8:00 PM

Union Square/Civic Center
Mon-Fri 10:30-5:30; Saturdays by appointment


1981. “Morning in America.” Inauguration and attempted assassination of Ronald Reagan. Worst recession since the 30s. Emergence of AIDS. Launch of MTV, the IBM PC, Tattoo You, and the De Lorean. Keith Haring sprays subways, Guernica returns to Madrid, Ali loses his last bout, Sandra Day O’Connor is the first woman appointed to the U.S. Supreme Court, and Dennis McNulty, age 6, develops an intense fascination with the patterns, palettes, and compositions of the pinup illustrations, car ads, and images of menswear featured in his father’s collection of Playboy.


Twenty-eight years later, McNulty re-engages the colors, shapes, and layouts of early 1980s men’s magazine design, zeroing in on the genre’s own re-engagement of the pinup icons of the 1940s and 1950s. Mindful of the broader definitions of “pervert” as both noun and verb, McNulty distorts the quasi-underground tradition of pinup art, presenting it not as nostalgia or historical quotation, but as a subjective, personal aesthetic interpretation. The results are provocative, infused with a disquieting sexual force that is by turns amusing and unsettling.