Mark Mothersbaugh
Mothersbaugh's fine art imagery is as simple as it is perplexing. A blend of computer generated graphics, found imagery, paint, ink, and embossing, his work somehow makes one believe that even comic book characters have to wipe their own asses in the morning. While most of the population is dulled by the protocol of daily life, Mothersbaugh is always exploring mixing and matching hints, innuendoes and suggestions via one media or another. He considers himself an observer and his art is "One man's view on culture." In September 2002, Mothersbaugh had his first solo show in over a decade at LUMP Gallery in Raleigh, N.C. The show was a huge success, and has inspired Mark to continue showing his "Postcard Diaries." In November, Mothersbaugh was invited to show work in the ultra hip Juxtapoz Magazine 8th Anniversary Group Show at Track 16 Gallery in Santa Monica. Wild Banana's Maui exhibit is his first stop on what is now a nationwide "Home-Front Invasion! Gallery Tour." When Mothersbaugh is not touring, you can find him in his Los Angeles based Mutato Muzika headquarters, where his offices and studio are housed in a pistachio green building shaped like a flying saucer. It is here that Mothersbaugh uses his musical magic to compose scores for movies, TV, and commercials. Not traditionally trained as a musician, he taught himself to read and write music after breaking into the industry, and now composes for and directs 110 piece orchestras. Pee-Wee's Playhouse, The Rugrats, MTV's Liquid Television, and The Royal Tenenbaums are just a few of the projects that he has scored. Mothersbaugh's artistic life took flight in his twenties, when, to avoid being drafted for Vietnam, he enrolled in Kent State University and earned a degree in fine art. In 1972, Mothersbaugh and fellow art student Jerry Casale formed DEVO, taking its name from the theory of De-evolution - the idea that instead of evolving, mankind is actually regressing. The whole concept simply started as a way of entertaining themselves. "It made the sound of things falling apart." But then came the infamous Kent State - National Guard killings of 4 student protesters, and suddenly their message held a more immediate relevance As it was, "electronic noise" in the early 70's, in Ohio, was difficult for most locals to appreciate. "You'd have these long-haired factory workers relieved to be back from Vietnam, and here were some crazy asses on stage provoking them and calling them subhuman. They'd get pissed and act out. We'd have fistfights constantly. People paying us to quit. Getting beat up. The police stopping the shows." Needless to say, the band left Ohio and tried their luck in NYC, where they pulled up in front of Max's Kansas City and began playing on the sidewalk. DEVO's big break came with their short film, The Truth About De- Evolution, which won a prize at the 1976 Ann Arbor Film Festival. After seeing the film, both David Bowie and Iggy Pop took interest in the five-some and connected DEVO to their first producer, Brian Eno. Their debut album, "Q: Are We Not Men? A: We Are DEVO!" became an underground hit. Throughout the DEVO years, Mothersbaugh also created his fine art, pumping-out several of his postcard-style creations nearly every day. "Since I never did them to show people, I didn't care if I mixed mediums or if they got filthy or stupid. I like stuff that was kind of stream of consciousness. I'd do it, then I'd question, 'Where did that come from?' I've been making them for about 30 years now" Mothersbaugh's prints are disquieting, visual conundrums; our minds are not quite able to fill in the blanks or connect all the dots. He gives us no answers, only a curious tension. Short circuiting logic, yet leaving an impression, something memorable and ironic.
Shepard Fairey I make a very public body of art using stickers, posters, and stencils. I put these works on the street in order to send some static interference out into the world’s sea of images and messages. The images I use include historical propaganda, black power, parodies of authority, and tweaks of popular culture icons. What’s the point? Well aside from satisfying my compulsive need to produce art, these posters are designed to start a dialogue about imagery absorption. Powerful and seductive images have historically been used for a variety of reasons, some noble, some sinister, some both, depending on subjective interpretation. My work uses people, symbols, and people as symbols to deconstruct how powerful visuals and emotionally potent phrases can be used to manipulate and indoctrinate. There is no specific political affiliation behind what I do, only the philosophy "question everything", which is why I can use Jesse Jackson and Joseph Stalin in the same body of work. I also use the word "Obey" in much of my art as a form of reverse psychology. Though most people wish they were independent, many obediently follow the path of least resistance and are uncomfortable with confronting the word "Obey". As disconcerting as the word "Obey" may be, when not attached to any further command, it poses no threat beyond forcing the viewer to face their feelings about obedience. Though my art may make some people uncomfortable, I've always felt that provocation stimulating debate is much more desirable than ignoring sensitive issues to avoid hurting anyone’s feelings. People’s feelings do seem to get hurt very easily. Sometimes I'm attacked by people who tell me I have no business using this leader, or that activist, or this word, in my art. What surprises me most is that sometimes those who criticize my use of symbols aren’t the ones that lived through McCarthyism and have a programmed fear of communism or anything radical, but those who claim to be radical. Many of these so called "radicals" have adopted Politically Correct doctrine that says white people have no right to try to relate to, or comment on, other cultures. I think this is a dangerous mentality that discourages inter-culture relations and understanding. Sure, a white person can’t truly relate to what it is like not being white, but the sentiment to try is at least a positive step. Che Guevara and Bobby Seal both embraced the assistance of those Gringos or Crackers that genuinely understood their causes and wanted to help. Distrust of those who have oppressed is natural but intentional isolation only fuels racial tension. Does the Latin community own Che? Does the Black community own Angela Davis? Does the White community own Eminem? Should Hip Hop and Graffiti be kept only in New York City? My point is that someone or something’s influence can often cross cultural boundaries and grow beyond the control of groups who would like to keep this person or thing as a symbol solely of their cause or culture. Figures are used symbolically for group’s agendas, simplifying them in a way which can never truly reflect the complexity of the individual. I use figures in my work who I feel are used and abused as symbols, but without telling the viewer how they should feel about them. I hope people that don’t know the backgrounds of these leaders, radicals, pop icons, or movements will take the initiative to learn about their history. I apologize to anyone who feels my work desecrates something they hold sacred, but things aren't always as black and white as some folks wish they were. Digest this: Che Guevara was from an upper class family of pure Spanish descent and considered himself white, yet he took on the mission to empower mixed and native Latin Americans. Che struggled to free Latin Americans from European and American oppressors with whom he admittedly shared a common lineage. Fortunately, P.C. rhetoric didn’t make Che feel he lacked the racial credibility to be outspoken about his causes. This anecdote leads to my advice to myself and others; Investigate and deconstruct everything because a person and the simplified symbol they have become aren't always the same thing. -Shepard Fairey CHECK OUT A PREVIEW OF THE SHOW THE SHOW HERE MORE IMAGES TO COME SOON For more info on this show email forbidden gallery forbidden@hotweird.com |
