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Gary Panter

Paintings 1986 - Present

October 6 – November 5, 2011

GARY PANTER, Barn Door, 2008
GARY PANTER, Boarding Pass, 2008
GARY PANTER, Building Codes, 2011
GARY PANTER, Car Craft, 2004
GARY PANTER, Door Jam, 2009
GARY PANTER, Flypaper, 2004
GARY PANTER, Furniture in the Holy Place, 1989
GARY PANTER, Gulf Port, 2003
GARY PANTER, Lone Life, 2010-2011
GARY PANTER, Melt Gas, 2004
GARY PANTER, Moo Cow Clean, 1988
GARY PANTER, Robot Leech, 2006
GARY PANTER, Strange Intruder, 2011
GARY PANTER, Stumbling Block, 2011
GARY PANTER, Sweat It, 2010
GARY PANTER, The Ant Men, 2010
GARY PANTER, Untitled (Carne), 1990
GARY PANTER, Untitled (Robot), 1996
GARY PANTER, Wanting, 2004
GARY PANTER, Water, 2004

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.”