Raymond Pettibon, ‘Untitled (Choo-choooooo)’, 1992, Disruptive Canvas
Raymond Pettibon, ‘Untitled (Choo-choooooo)’, 1992, Disruptive Canvas

The paper is not entirely rectangular

Signature: On Verso

Image rights: Martin Cox

Never exhibited

My sister-in-law Ingrid Swenson worked at the Institute of Contemporary Art in London. While she was visiting family in Los Angeles, she took over the curators job of meeting up with some California based artists who were being included in an upcoming exhibition. Titled “True Stories” and curated by Emma Dexter the ICA London presented works by Mark Dion; Renée Green; Larry Johnson; Karen Kilimnik; Raymond Pettibon; Jack Pierson; Jim Shaw and Raymond Pierson.

The year was 1992, I drove with Ingrid to meet Raymond, Ingrid wanted to ask him about which works he was planning to contribute to the upcoming group show. We looked at work in the basement of a house in Hermosa Beach near Los Angeles. Raymond was very cordial, and brought outmans news works to show Ingrid and I. At the end of the meeting he suddenly gave Ingrid and I both artworks as we were leaving. He generously handed me a recent train series work signed and dated 1992.

About Raymond Pettibon

Having emerged from the Southern California DIY culture and its punk-rock sensibility, Raymond Pettibon fuses together youthful edginess and political engagement. Drawing from disparate cultural sources—from Marcel Proust to the Bible—the artist’s cartoon-inspired ink drawings on unframed paper recall the look of fanzines and concert flyers, however with an often cryptic semblance of narrative. More recently, Pettibon’s works have been a sustained critique of the Iraq War and American foreign policy, such as No Title ("Why press him?") (2007), which depicts George W. Bush with bloodied hands and surrounded by pointed, ironic commentary. Pettibon was a recipient of the Whitney's Bucksbaum award in 2004.

American, b. 1957, Tucson, Arizona, based in Hermosa Beach, California