Writing in Hyperallergic, Jason Diamond has an interesting take on the fantastic survey of Raymond Pettibon's work currently on view at the New Museum: Raymond Pettibon- A Pen of All Work. In considering Pettibon's body of work from a macroscopic perspective, Diamond focuses on disparate themes that all seem to point point towards the present dystopian moment that we are all struggling to comprehend. Although moments of profound societal upheaval inevitably tend to sharpen our gaze upon facets of visual culture that seem, in retrospect, to be prescient or perhaps even prophetic, Diamond writes convincingly about how disconcertingly accurate Pettibon's dark visions of America now feel:
"Whether he’s drawing cops, dictators, or American presidents, [Pettibon is] telling us that people will abuse their power and that abuse will lead to untold horrors and the suffering of innocent people. But in Pettibon’s work...What’s frighteningly noticeable in 2017, more than ever before, is that Pettibon’s talking about the here and now. Things are terrifying and bad, they always have been, and they don’t look like they’re changing anytime soon."
Thankfully, Pettibon's drawings and paintings are intermittently leavened by hints of the ecstatic--particularly in his depictions of the physical pleasures associated with surfing and baseball. However, the center of gravity of Pettibon's work inevitably comes to rest at a point beyond which the American dream has already lapsed into nightmare. There are manifold pleasurable elements in Pettibon's art for the viewer to savor: the exuberance of his lines, the recognizable but enigmatic cultural references, and the mordant wit of his text. But right now, the more blighted and threatening facets of Pettibon's vision strike pretty damn close to the bone.