In addition to features on National Public Radio and in the pages of The Wall
Street Journal, New York Times, Los Angeles Times, LA Weekly, Filter and
Spin Magazines, the artist has had major solo exhibitions at Moore College of
Art in Philadelphia, Rice University in Houston, the Museum Ludwig in Cologne, Germany, the Linden Centre for Contemporary
Art in Melbourne, Australia, and the Czech Centre in London.
The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce
spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's
street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of
art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.
Battaglia, Andy, «Suggestive States of Disarray: Raymond Pettibon Prepares for His Opening at the David Zwirner Gallery,» The Wall
Street Journal, September 11, 2013 Appleford, Steve, «
Art for the YouTube Crowd,» Los Angeles Times, July 28, 2013 «
Art Of Punk: MOCAtv Series Explores Raymond Pettibon's Black Flag Logo,» Huffington Post, June 17, 2013 Cartwright, James, «Illustration: Complete Archive of Raymond Pettibon's Work for Black Flag,» It's Nice That Online, June 13, 2013 Stutz, Colin, «Black Flag «Revolutionary» Iconography Dissected in Raymond Pettibon Documentary,»
Spin Magazine Online, June 13, 201 Lecaro, Linda, «MOCA Web Series Chronicles the
Art of Punk,» LA Weekly Blogs, June 13 2013 Turcotte, Bryan Ray, «Pretty Much Every Single Black Flag Flyer Ever Designed By Raymond Pettibon,» Noisey — Vice Magazine Music Blog, June 11, 2013 Roberts, Randall, «MOCAtv Releases New Black Flag / Raymond Pettibon Doc On Punk
Art,» The Los Angeles Times Music Blog, June 11, 2013 Sutton, Benjamin, «See Raymond Pettibon's Notorious B.I.G. - Quoting High Line Billboard, Blouin Artinfo, June 3, 2013 Brisick, Jamie, «Swinging for the Fences: The Wicked Irony & Massive Output of Raymond Pettibon,» Malibu Magazine, April - May 2013, p. 120 - 30 Brisick, Jamie, «Raymond Pettibon: The Game of Words and Pics,» Huck Magazine, March 7, 2013.
Ironically, it was within a similar context that Hirst would launch his own
spin painting practice: having produced a number of early examples in his Brixton studio in 1992, the following year he set up a
spin art stall with fellow artist Angus Fairhurst at Joshua Compston's
street fair A Fête Worse than Death.