“…icons of the uncanny.” -In the Galleries, The New Yorker
70s 80s 90s 00s 10s photography postcards pastels video several categories have not yet been posted; drawings, performance, paintings, animist, etc
NOV 26-DEC 23
449 MAIN ST. ROSENDALE
images of art works, roughly chronological from 1970-2007 Lecturing at Otis Art Institute, LA, 2010MY WISH is from PAUL McMAHON on Neutral Records, 1986
After over 30 years without much of an art career, over 30 of my works were shown in a group of over 30 artists at the Metropolitan Museum in 2009. THE PICTURES GENERATION 1974-1984 traced the development of a new, post-conceptual sensibility which came to prominence in the art world of the 80s and beyond. Unexpected acclaim for local Mail Carrier
photo: Eileen Travell
Following the Metropolitan show I’ve been in several shows in and out of NYC:
STAIRWAY TO HEAVEN
PAUL McMAHON, MATT MULLICAN, JAMES WELLING 1970-75
SUSAN INGLETT GALLERY
“STAIRWAY TO HEAVEN” Each summer, David Platzker, the director of the art-ephemera gallery Specific Object, unearths a time-capsule exhibition at the Inglett gallery. This year’s effort is devoted to a trio of artists who met at Cal Arts in its seventies heyday: Matt Mullican, James Welling, and Paul McMahon. Most of the work comes from the artists’ archives and dates, more or less, from that era. Mullican shows cartoon cutouts of evanescence (smoke, ice), along with examples of his stick-figure drawings, which put a mystical spin on Pop. Welling’s experimental photographs graft together Surrealism, Robert Frank, and Ed Ruscha. McMahon’s postcard collages transform banal buildings, industrial landscapes, and stranger subjects (including beached whales) into icons of the uncanny. Through July 24. NEW YORKER, In the Galleries
OTHER RECENT GROUP SHOWS:
CALLICOON FINE ARTS OPENING SHOW, FALL 2009
ROOS ARTS; MADE IN ROSENDALE; SUMMER 2010
Above: SOLO SHOW AT ALCHEMY CAFE, Bearsville, August-September 2009 NEW POSTCARD PIECES. This show featured a new series of works made of copies of the same postcard taped together, a technique begun in 1971.
Claremont gas stations (1970, photo transparencies overlapped) was the first piece I made which I now think of as Disorientalism, a central tenet of my work of the 70s and 80s. It was an accident, like many of my more fortunate ‘achievements.’ I was photographing gas stations for Hal Glicksman’s art history class and I overexposed the film, making it all washed out. So I layered two hoping in some way to get a viewable image and voila!
The same thing happened that summer when I took a picture of my girlfriend and she took a picture of me.
In 1973 I began to color on newspapers with pastel.
Shortly after moving to NYC in 1975 I began writing on postcards.
Shortly thereafter I started cutting and pasting.
I also started making drawings.
One artist trying to convince others that he is right 1975
College Sweatshirt 1976
I drew on other types of photos.
- Have a Nice Day, 1986 photographic print, edition of 100
- Strother Elwood editions, Collection Whitney Museum
The Punk Moment 1977-79
Spray paint and stencils
1977 is when punk really happened for me. this work is from then; fashion, art and music from ‘the punk moment’ 1977;
green ‘army man’ wallpaper of various sizes. moud on it from lower left: spraypaint stencilled star like below, blue diamond which is part of a story involving Sherrie Levine, another star, 4 superimposed cut out stars on paper, used as decoration in I’M WITH STUPID performance at the kitchen nov 1977, small horse cut out of newspaper, angel gouche on watercolor paper, five black shooting army men, VICTORY IS OURS poster (acrylic paint on cardboard), ARE YOU FEARLESS/MAYBE YOU DIDN’T NOTICE 45 rpm of 2 45 second songs from I’M WITH STUPID, photo of Parick O’Connell modeling spray painted star t-shirt, blue horses stencilled spraypaint on paper, single horse, stencil cleaning on drafting paper, white shirt with gray horses, VICTORY IS OURS acrylic on cardboard poster. THERE ARE NO PROBLEMS hand lettered one is owned by Tom Otterness.
Compelled to make this image in 1977. Was is before or after Richard Prince gave me the Marcel Duchamp Time-Life book and I started rotating the roto-reliefs on my turntable? I was compelled to make the image but to maintain a respectable punkish distance from obeying anything I insisted on the New York Dots words as if the whole thing were a logo and not some cosmic plan I was inextricably woven into.
I figured that if you only do one thing over and over you will automatically be a success in the art world. Envious of my friends’ financial success, I decided I’d just do the red dot paintings and have a good income. I lasted about a week. Recently my uncle Will Barnet told me Adolph Gottlieb had given him the same advice; just do one thing over and over and you’ll be a success. At least he took his own advice.