{"id":77238,"date":"2014-09-25T12:22:16","date_gmt":"2014-09-25T16:22:16","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=77238"},"modified":"2014-09-25T16:26:47","modified_gmt":"2014-09-25T20:26:47","slug":"hovering-hippie-in-the-gallery-with-gary-panter","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/09\/25\/hovering-hippie-in-the-gallery-with-gary-panter\/","title":{"rendered":"Hovering Hippie: In the Gallery with Gary Panter"},"content":{"rendered":"

\"Gary<\/a><\/p>\n

I\u2019ve twice visited Gary Panter\u2019s studio, a large room tucked away on the third floor of his house in Brooklyn; the table at which he works\u2014he lays his canvases flat to paint\u2014sits roughly near the center of the room and is surrounded on all sides and from above by evidence of his many and various areas of work: painting, drawing, comics, music, design, printmaking, and sculpture. All of his art is of a piece, so in his studio it\u2019s especially difficult to get a sense of just one aspect of it. Rather than report on Panter\u2019s recent paintings from there, I proposed we meet at Fredericks & Freiser, where \u201cDream Town<\/a>,\u201d his show of new work, went on view earlier this month. Most of the paintings depict figures excerpted from their original sources and painted flatly, as though collaged, onto either monochromatic or expressionist backgrounds. The pristine walls of the gallery make it easy to focus on individual paintings and to see the connections between them. Still, in his paintings, as in much of his art, Panter converses with an estimable range of cultural subjects and styles, so, naturally, we ended up talking about far more than just painting.\u00a0<\/em><\/p>\n

\"From<\/a>

From top: Frank Zappa List<\/em>, 2014, glass seed beads, plastic letter beads, nylon string, dimensions variable. Ed Sanders List<\/em>, 2014, glass seed beads, plastic letter beads, nylon string, dimensions variable.<\/p><\/div>\n

The beads in rows are Frank Zappa\u2014the Mothers of Invention actually, album titles. Zappa was orderly, methodical. The others are Ed Sanders, fragments from his books. There are phrases from records by the Fugs, and he wrote a great parody novel about the hippies in the Chicago riots called Shards of God<\/em>, so a lot of these are word fragments from that\u2014\u201csmelp troll,\u201d \u201chovering hippie.\u201d I\u2019m also working lists of Ballard, Burgess, and other people. This is just a preview of my hippie project.<\/p>\n

The whole project is personal. It\u2019s a reflection of when I first went into a head shop in 1967 or \u201968 on a family vacation to California. I wanted to be a hippie but couldn\u2019t be a hippie\u2014I was part of the Church of Christ. I fought with my dad all the way to California for the control of the radio knobs, because I was trying to get California stations. We got to the little town where my cousins lived\u2014they\u2019d moved from Oklahoma, where they\u2019d lived super rustic, and now they were in\u00a0Shasta\u2014and there were hippies in town. We went to the hippie shop, and there were real, smelly hippies in there. Girls silk-screening, beading, a guy playing flute, and everything in the room was dark and kind of dank. We went next door, to a record shop, and they had walls of every psychedelic record I had never heard of. I drove my parents crazy until they let me buy a few, which I took back to Texas. But the sixties went really wrong in a lot of ways, so this is just hippie idealism.<\/p>\n

I\u2019m interested in trying to recapture what the hippies could have done had they not hit the consequences of free love, heroin, and speed. Too many people trying to be in the same place.<\/p>\n

\"Fogger,<\/a>

Fogger<\/em>, 2014, acrylic on canvas, 23 x 35 1\/2 in.<\/p><\/div>\n

This is really a sixties painting. Trying to join the conversation of painting\u2014modernism, anyway\u2014is all about novelty, like \u201cI do the stripe,\u201d \u201cI do the two floating, hovering clouds,\u201d \u201cI do the long, lashing brushstrokes.\u201d And then, in the seventies, if you were a painter, everything had already been done. It was the death of painting. In the eighties, guys like David Salle and Julian Schnabel went back to the sixties. Most people try to go around their predecessors\u2014I have to get around Peter Saul, for instance\u2014but in the eighties, artists went right back to sixties problems. Everyone was trying to dig holes in the desert.<\/p>\n

\"Lost<\/a>

Lost World<\/em>, 2014, acrylic on canvas, 35 1\/2 x 47 1\/2 in.<\/p><\/div>\n

Making a painting is meditative, because I\u2019ve already figured out my approach, I\u2019ve already done a drawing, I know what it\u2019s going to be. In that sense, there\u2019s already a score written, so when I finally make a performance of it, I\u2019m orchestrating the colors and the subtleties. For me, it\u2019s always about the field and the subject. In the twentieth century there was a raw attempt to get past subject. They\u2019d abstract it stylistically so it wasn\u2019t recognizable\u2014like Picasso at the beginning of the century. And then there was a kind of fusing of the figure with the ground, like in Dubuffet\u2019s work\u2014everything was flat.<\/p>\n

I think Abstract Expressionism is like landscape painting. You take the subject away, you take all the figuration away, you\u2019re still left with the emotions of the atmosphere. It\u2019s an accidental or unstoppable association\u2014patterns of weather, sky, water. In terms of figures, I\u2019m trying to choose shapes that are interesting in themselves, and I put them in odd places so they become more interesting. Hopefully, that detracts attention from naming the figures, though your brain immediately thinks, Oh, two dinosaurs, or, Oh, a kid and a dinosaur. But if you\u2019re making an abstract painting, you\u2019re trying to dial that down.<\/p>\n

\"Loon\"<\/a>

Loon<\/em>, 2014, acrylic on canvas, 35 1\/2 x 47 1\/2 in.<\/p><\/div>\n

Malcolm Morley said he chose stuff that meant nothing to him early in his career. It\u2019s arbitrary\u2014it\u2019s just a racehorse or a ship. Then later, he starts painting children\u2019s toys, and it seemed like his emotions were driving him. Some of the forms in my paintings are things that mean something to me\u2014like the first dinosaur movie I went to or that my brother doesn\u2019t believe in dinosaurs\u2014but mainly they\u2019re not that literal. The figures I\u2019m looking for suggest a human moment, an interaction of attention. You don\u2019t need to know the story behind the moment, only the feeling the scene creates. If you live with a painting, you see it for hundreds of hours, thousands of times, but most people see a painting for thirty seconds in a gallery, and past that, they get bored. So a painting has to do its job, whatever the artist wants that job to be.<\/p>\n

I go through thousands of pictures, and hardly any of them will be in a painting. I did it last night\u2014I looked at probably two thousand pictures and didn\u2019t see anything I wanted to paint. Cartoons are usually telling a story. Paintings are more like moments or like poems, like haiku. You get it in a moment, if you get it.<\/p>\n

\"Detante\"<\/a>

Detante<\/em>, 2013, acrylic on canvas, 22 1\/2 x 35 1\/2 in.<\/p><\/div>\n

I want the edges to be straight up to a certain point. I have corrected some of the edges to make them more precise, but I wont just keep going until you can\u2019t tell them apart. That\u2019s not important to me. I\u2019m interested in how you see it quickly and how it feels around you, like it has an orbit or something. This type of painting tends to be kind of cold, so I\u2019m looking for a little bit of heat.<\/p>\n

It\u2019s hard to get the narrative out. If you see a duck, you start thinking duck stuff. Frank Stella once said in an interview that naked women and ducks are always trying to get into paintings but that he doesn\u2019t let them in. But Peter Saul lets them all in\u2014all the ducks and naked ladies. It\u2019s a different approach, because everyone can\u2019t be Frank Stella.<\/p>\n

I\u2019m looking for loose ends and things that are missing. There are artists who do one thing, like, say, Peter Max. He did his one thing and then everyone else started doing it\u2014and everyone else became Peter Max. If you keep moving artistically, if you have a life on the road, so to speak, then you don\u2019t have to care if people like it or don\u2019t like it or are influenced by it, because really it\u2019s about you being alive for a little bit of time and trying to do something with it. The quirky thing about these paintings is I know how to paint all kinds of paintings, but I have a crazy idealistic sensitivity of trying to feel my way toward the right paintings to do. I can see hundreds more paintings that I could do, but I\u2019m waiting for a little bell to ring in my head, and I don\u2019t know who rings it.<\/p>\n

\"Hand<\/a>

Hand of Gorgo<\/em>, 2013, acrylic on canvas, 35 1\/2 x 48 1\/2 in.<\/p><\/div>\n

I like the purple Gorgo painting a lot because I like the movie. It scared me when I was a kid. Gorgo<\/em> was an English Godzilla movie, and they framed this Godzilla monster and they catch it and they put it in the circus, and it\u2019s like a hundred feet tall, and he breaks out and gets lost in London and they\u2019re shooting it and then its mom comes out and rescues it and she was like a thousand feet tall and she\u2019s like, Come home, baby, and smashes her way back up through the ceiling and they\u2019re gone. In the painting, that\u2019s the baby\u2019s hand coming out of the water. But that\u2019s only important to me. Unless you were twelve years old in 1960, you didn\u2019t have that experience. It\u2019s not necessary information for appreciating the painting. What\u2019s important to read in the painting are the colors, the shapes, the reflectivity off the torch in the water. If that wasn\u2019t there, it\u2019d be a lot less interesting. It\u2019s a disruption that indicates a different space. It\u2019s all an illusion, it\u2019s not real, it\u2019s on a stage, or a window. It\u2019s painting. It\u2019s an insecure business. Painting is really insecure stuff.<\/p>\n

\u201cDream Town\u201d is on view at Fredericks & Freiser<\/a> through September 27.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

I\u2019ve twice visited Gary Panter\u2019s studio, a large room tucked away on the third floor of his house in Brooklyn; the table at which he works\u2014he lays his canvases flat to paint\u2014sits roughly near the center of the room and is surrounded on all sides and from above by evidence of his many and various […]<\/p>\n","protected":false},"author":54,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1857],"tags":[35,2802,6929,4958,8099,1399,13944,15424,15423],"class_list":["post-77238","post","type-post","status-publish","format-standard","hentry","category-studio-visit","tag-art","tag-centaur-paintings","tag-ed-sanders","tag-frank-stella","tag-frank-zappa","tag-gary-panter","tag-godzilla","tag-mothers-of-invention","tag-peter-saul"],"acf":[],"yoast_head":"\nA Studio Visit with Gary Panter<\/title>\n<meta name=\"description\" content=\"The artist on his new 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