NEW YORK, 2 February 2017 – Sotheby’s S|2 is pleased to present Raymond Pettibon: Four Decades, a selling exhibition in our New York gallery space featuring the artist’s iconic works on paper. On view from 2 February – 17 March 2017, the exhibition showcases many of the familiar and reoccurring characters and motifs from Pettibon’s career, including surfers, trains,…
Raymond Pettibon's Iconic Works on Paper
- Mit freundlicher Genehmigung von: sothebys.comNEW YORK, 2 February 2017 – Sotheby’s S|2 is pleased to present Raymond Pettibon: Four Decades, a selling exhibition in our New York gallery space featuring the artist’s iconic works on paper. On view from 2 February – 17 March 2017, the exhibition showcases many of the familiar and reoccurring characters and motifs from Pettibon’s career, including surfers, trains, baseball players and femme-fatales. The exhibition coincides with the February opening of The New Museum’s Raymond Pettibon: A Pen of All Work, the first major museum survey of the artist in New York. 
No Title (Tough guy. Don’t...) If surfers and baseball players present us with notions of our masculine identity both stoic and faded, then it is use of voyeurism and sex that challenges the viewer to question their own moral compass, to peak through closed eyes - Mit freundlicher Genehmigung von: sothebys.com / Sotheby’s Auktionshaus 
No Title (It felt good...), 1999 - Mit freundlicher Genehmigung von: sothebys.com / Sotheby’s Auktionshaus 
No Title (We are left...), 2003 In a gesture to illicit youthful exploits the work No Title (We are left...), 2003 seems to reference the peeping tom scenes of movies like Porky’s, Revenge of the Nerds and Animal House. Indeed the power of Pettibon’s adaptation of Hollywood and the film industry make their way into multiple facets of the works in the present collection. - Mit freundlicher Genehmigung von: sothebys.com / Sotheby’s Auktionshaus
The S|2 exhibition explores the unique world of Raymond Pettibon - one born out of popular culture, the counterculture in its multiple forms, politics, sports, voyeurism, religion, nostalgia and a sense of failed heroic identity. The backdrop for Pettibon's world is the greater global American landscape and the characters who inhabit it are either real or appropriated from real life. This world is neither enlightened nor demonized, but rather put under the interrogation lamp to secure a clearer understanding of self. It is Pettibon’s ability to blend his prose and image together, both unique and borrowed, that creates this new universe which so closely mimics our own. Although on the surface the artist’s work may seem pessimistic or even nihilistic, there is a feeling that through the darkness a new profound understanding of self can be discovered, and with that a glorious truth. The works set forth in Raymond Pettibon: Four Decades demonstrate the ways in which the artist has stepped out into the world of Contemporary Art and challenged perceptions of what our real identity might be, for better or worse.
No Title (Tough guy. Don’t...) If surfers and baseball players present us with notions of our masculine identity both stoic and faded, then it is use of voyeurism and sex that challenges the viewer to question their own moral compass, to peak through closed eyes - Mit freundlicher Genehmigung von: sothebys.com / Sotheby’s Auktionshaus
No Title (It felt good...), 1999 - Mit freundlicher Genehmigung von: sothebys.com / Sotheby’s Auktionshaus
No Title (We are left...), 2003 In a gesture to illicit youthful exploits the work No Title (We are left...), 2003 seems to reference the peeping tom scenes of movies like Porky’s, Revenge of the Nerds and Animal House. Indeed the power of Pettibon’s adaptation of Hollywood and the film industry make their way into multiple facets of the works in the present collection. - Mit freundlicher Genehmigung von: sothebys.com / Sotheby’s AuktionshausDates for your diary
PRE-SALE EXHIBITIONSaturday 11 February – Wednesday 15 February 2017
SUNDAY AT SOTHEBY’S12 February 2017, 12-5pm
AUCTION16 February 2017
![No Title (There is no...), 2011 In tandem with this pseudo-homoerotic imagery is the peering eye upon the female, behind closed doors and often undressed. The women depicted are both trapped and powerful. They hold our attention such as in No Title (There is no...), 2011 and are completely helpless in works like No Title (It felt good...), 1999 [next slide]. In No Title (There is no...), the scale](/sites/default/files/styles/thumbnail/public/kunst-termine/2017/05/032n09625_xxxxx_resize135.jpg?itok=QJzL9O3h "No Title (There is no...), 2011 In tandem with this pseudo-homoerotic imagery is the peering eye upon the female, behind closed doors and often undressed. The women depicted are both trapped and powerful. They hold our attention such as in No Title (There is no...), 2011 and are completely helpless in works like No Title (It felt good...), 1999 [next slide]. In No Title (There is no...), the scale")
No Title (There is no...), 2011 In tandem with this pseudo-homoerotic imagery is the peering eye upon the female, behind closed doors and often undressed. The women depicted are both trapped and powerful. They hold our attention such as in No Title (There is no...), 2011 and are completely helpless in works like No Title (It felt good...), 1999 [next slide]. In No Title (There is no...), the scale - Mit freundlicher Genehmigung von: sothebys.com / Sotheby’s Auktionshaus
No Title (Drop in with...), 1999 The notion of escape from expectations of others and the anti-hero is one of the strongest identities within the Pettibon character lexicon. The most significant – or perhaps recognisable - Mit freundlicher Genehmigung von: sothebys.com / Sotheby’s Auktionshaus
No Title (This meant the...), 2001While many wouldn’t consider a train a main character in the traditional sense, we may take Pettibon’s trains to be the apocalyptic answer to Thomas the Tank Engine’s eternal - Mit freundlicher Genehmigung von: sothebys.com / Sotheby’s AuktionshausCopyright © 2024 findART.cc - All rights reserved