Gary Panter

Paintings 1986 - Present

October 6 – November 5, 2011

GARY PANTER

Barn Door, 2008

Acrylic on canvas

35.5 x 24.5 inches

GARY PANTER

Boarding Pass, 2008

Acrylic on canvas

48.5 x 35.5 inches

GARY PANTER

Building Codes, 2011

Acrylic on canvas

35.5 x 79.5 inches

GARY PANTER

Car Craft, 2004

Acrylic on paper 

20 x 26 inches

GARY PANTER

Door Jam, 2009

Acrylic on canvas

44.5 x 35.5 inches

GARY PANTER

Flypaper, 2004

Acrylic on paper

20 x 26 inches

GARY PANTER

Furniture in the Holy Place, 1989

Acrylic on paper

22.5 x 30 inches

GARY PANTER

Gulf Port, 2003

Acrylic on canvas

26 x 64 inches

GARY PANTER

Lone Life, 2010-2011

Acrylic on canvas

35.5 x 79.5 inches

GARY PANTER

Melt Gas, 2004

Acrylic on canvas

24 x 64 inches

GARY PANTER

Moo Cow Clean, 1988

Acrylic on paper

22.5 x 30 inches

GARY PANTER

Robot Leech, 2006

Acrylic on canvas

36 x 80 inches

GARY PANTER

Strange Intruder, 2011

Acrylic on canvas

35.5 x 79.5 inches

GARY PANTER

Stumbling Block, 2011

Acrylic on canvas

35.5 x 79.5 inches

GARY PANTER

Sweat It, 2010

Acrylic on canvas

35.5 x 79.5 inches

GARY PANTER

The Ant Men, 2010

Acrylic on canvas

35.5 x 79.5 inches

GARY PANTER

Untitled (Carne), 1990

Acrylic on paper

22.5 x 30 inches

GARY PANTER

Untitled (Robot), 1996

Acrylic on paper

22.5 x 30 inches

GARY PANTER

Wanting, 2004

Acrylic on paper

20 x 26 inches

GARY PANTER

Water, 2004

Acrylic on paper

20 x 26 inches

Press Release

Fredericks & Freiser is pleased to announce an exhibition of twenty paintings by Gary Panter.Widely recognized as one of the most significant and influential graphic artists of the last thirty years, Panter’s “punk nuclear hillbilly” aesthetic has helped define a post- psychedelic graphic style.

In many ways Gary Panter is the black sheep of a family whose patriarch is Sigmar Polke and whose favored sons and daughters lived and exhibited in New York in the early 1980’s. Panter, however, was based in Los Angeles and stayed true to his punk roots by paring down his work to the raw essentials and opening his painting practice to include illustration, set design, music, writing, and later on, light shows.
 

Less concerned with theories of production and the structure of meaning, Panter focuses on an overall cultural energy where non- sequential narratives are formed by the clash of expressionist abstraction and cartoon primitivism. These layered compositions display a prescience in a wide range of contemporary painting from Takashi Murakami and Lari Pittman to André Butzer and Jonathan Meese.

Mike Kelley writes: “Gary Panter is a godhead…I find it hard to believe that Mr. Basquiat’s word clusters and broken-line approach did not borrow heavily from the genius of Gary Panter.”