{"id":115398,"date":"2017-09-13T13:00:08","date_gmt":"2017-09-13T17:00:08","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=115398"},"modified":"2017-09-13T16:00:10","modified_gmt":"2017-09-13T20:00:10","slug":"karl-wirsums-casting-call","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/09\/13\/karl-wirsums-casting-call\/","title":{"rendered":"Karl Wirsum\u2019s Casting Call"},"content":{"rendered":"
\"\"<\/a>

Karl Wirsum, Mr. Dry Iced \u201cT\u201d<\/em>, 1987, acrylic on canvas, 38 1\/2″ x 56 1\/2″.<\/p><\/div>\n

 <\/p>\n

In the margin of the\u00a0drawing\u00a0Study for Looking at a Curve Ball in Cuernavaca<\/em> are notes written by the artist, Karl Wirsum:<\/p>\n

Batter up
\n9 at Bats
\nLast Bats
\nLost Summer
\nRobert Catcher
\nUmbrella
\nUmpiro
\nManic
\nSword Fight Thrust Position<\/p><\/blockquote>\n

He seems to be trying out titles, and given Wirsum\u2019s other titling efforts (for instance, the superlative\u00a0Study for Drop a Lozenge Ferret Attitude on the Way to the Letter Drop<\/em>), I wonder if he wasn\u2019t considering something along the\u00a0lines of \u201cUmbrella Umpiro Manic Sword Fight Thrust Position.\u201d Wirsum\u2019s titles don\u2019t give many hints, if any, about what\u2019s going on in the paintings, but in their agglomerations\u00a0of words and punning (Shower Girl Taking a Curtain Call<\/em>), they, like the works they represent, suggest the potential for ample and adventurous\u00a0meaning.\u00a0<\/p>\n

A dozen of Wirsum\u2019s paintings and drawings are on view at Derek Eller Gallery, in New York, in the show \u201cMr. Whatzit: Selections from the 1980s<\/a>.\u201d Each work is a portrait of a single character, and the backgrounds, in the case of the paintings, are monochromatic: flat\u00a0fields of red, teal, ochre. Whether alien, mechanical, or human, each character appears\u00a0as a kind of totem of their own world, like the corner boxes on the covers of classic comics (those small rectangles in the upper left corner that show Superman or Spider-Man or Hulk on a solid field of color).\u00a0Mr. Dry Iced \u201cT\u201d is part hulking Jack Kirby creation (too many fingers, too many knuckle joints), part mystic oddity rising out of a blue ether, his hands like two\u00a0hamsas<\/em>. The Mesoamerican Shower Girl performs under a showerhead-cum-stage-light in the semiprivacy of her shower-curtained stage. The half-human, half\u2013jet pack figure in\u00a0If It\u2019s Tuesday\u00a0It Must Be Nairobi Except in Nebraska <\/em>shoots diagonally across a Joan Mir\u00f3\u2013inflected cosmos.<\/p>\n

In the seventies,\u00a0the abstraction in Wirsum\u2019s\u00a0figures acted as a kind of armor\u2014\u201cthe abstraction attached to the human figure,\u201d he has said; in the eighties, that abstraction\u00a0became more anatomical: descriptive of the body itself, if not actually a part of it. Two\u00a0groups of arcing lines on the bicep\u00a0and forearm of the figure in\u00a0Thumb Thwack<\/em>\u00a0wouldn\u2019t be out of place in\u00a0a William Baziotes drawing. The mix of shapes on the figures in\u00a0Looking for a Curve Ball<\/em> and\u00a0Half Pint Apple Playing Paper Bag Pipe Music\u00a0<\/em>are distilled, quieter\u00a0versions of Kandinsky\u2019s geometric compositions of the\u00a01930s or the finespun marks in Paul Klee\u2019s etchings.<\/p>\n

The energy in Wirsum\u2019s figures isn\u2019t limited to the canvas. \u201cMy characters are alive,\u201d he\u00a0has said:<\/p>\n

On completion of [the] drawing, the character hops out of this two-dimensional paper confines and achieves a standing position on top of the board. He then hops off the table, onto the floor, running into a mouse hole in the wall or some other convenient portal that times him into a cartoon environment \u2026 That would be the way I perceive the images that I create, hoping there will be a long run on Broadway for them, so they are spared from the production being closed in the first week and their being sucked back into the ink bottle.<\/p><\/blockquote>\n

This production is up through October 8; see it while you can.<\/p>\n

 <\/p>\n

\"\"<\/a>

Mr. Whatzit on the Road to Burmashave<\/em>, 1985, acrylic on canvas (with painted wood frame), 48 1\/4″ x 36 1\/2″.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Spool Fool<\/em>, 1985, acrylic on canvas (with painted wood frame), 50 1\/2″ x 36 1\/2″.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Study for Looking at a Curve Ball in Cuernavaca<\/em>, 1983, ink and color pencil on paper, 24″ x 18″.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

If It\u2019s Tuesday It Must Be Nairobi Except in Nebraska<\/em>, 1987, acrylic on canvas (with painted wood frame), 58 1\/2″ x 41″.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Study for Drop a Lozenge Ferret Attitude on the Way to the Letter Drop<\/em>, 1985, color pencil, graphite and acrylic on paper, 24″ x 18″.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Thumb Thwack<\/em>, 1986, acrylic on canvas (with painted wood frame), 50 1\/2″ x 38 1\/4″.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Hi! Water Mark Whaz the Point<\/em>, 1988, acrylic on canvas (with painted wood frame), 56 3\/4″ x 40 3\/4″.<\/p><\/div>\n

 <\/p>\n

\u201cMr. Whatzit: Selections from the 1980s<\/a>\u201d is on view at Derek Eller Gallery through October 8.<\/em><\/p>\n

Nicole Rudick is managing editor of <\/em>The Paris Review.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  In the margin of the\u00a0drawing\u00a0Study for Looking at a Curve Ball in Cuernavaca are notes written by the artist, Karl Wirsum: Batter up 9 at Bats Last Bats Lost Summer Robert Catcher Umbrella Umpiro Manic Sword Fight Thrust Position He seems to be trying out titles, and given Wirsum\u2019s other titling efforts (for instance, […]<\/p>\n","protected":false},"author":54,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[21455,17820,17791,24546,27709,16133,30553,30545,1400,30549,19759,30550,67,2054,10148,30551,3490,30552],"class_list":["post-115398","post","type-post","status-publish","format-standard","hentry","category-look","tag-abstraction","tag-broadway","tag-derek-eller-gallery","tag-exhibition","tag-figurative-painting","tag-hairy-who","tag-hamsa","tag-human-figure","tag-jack-kirby","tag-joan-miro","tag-karl-wirsum","tag-mesoamerica","tag-painting","tag-paul-klee","tag-titles","tag-totems","tag-wassily-kandinsky","tag-william-baziotes"],"acf":[],"yoast_head":"\nKarl Wirsum\u2019s Casting Call<\/title>\n<meta name=\"description\" content=\"The Hairy Who artist\u2019s abstract characters tell their own stories.\" \/>\n<meta name=\"robots\" content=\"index, follow, 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