If genius means anything anymore—for me it is the union of inexplicably keen insight with an uncanny capacity to say or show what others fail to articulate but everybody knows—then the artist Raymond Pettibon is one, the man of the hour at minutes to midnight on the Doomsday Clock. Fittingly, two exhibitions this spring show an artist obsessed with the larger, grittier, and often hallucinatory contradictions of “this American life.”
We were drawn to his typical sentiments put in an, I assume, ironic placement, as in this drawing reproduced on Irena Jurek's website. I like subtle better than hallucinatory.
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