The Getty recently made a significant announcement regarding the acquisition of the archive of renowned artist Raymond Pettibon. Pettibon, known for his diverse body of work that includes flyers and album art for the early Southern California punk scene, videos, artist books, and drawings and paintings inspired by American history, culture, politics, and literature, has now entrusted his extensive collection to the Getty.
The archive, which consists of drawings, notes, concert flyers, prints, zines, skateboards, and even a surfboard, spans across 28 boxes. The Getty Research Institute (GRI) will house the majority of the archive, while materials related to Pettibon’s process and technique will be located in the Getty Conservation Institute’s Reference Collection.
Having started his art career in the late 1970s by creating posters and album covers for punk bands like Black Flag, Pettibon’s work has always been characterized by its stark graphic quality and dark, often ambiguous juxtapositions of text and image. His art delves deep into the underbelly of American society, revealing the turmoil and violence that lie beneath the surface.
In addition to his early punk art, Pettibon’s layered and enigmatic drawings, prints, and paintings have solidified his position as a significant figure in contemporary art. His work was even featured in the influential exhibition “Helter Skelter: L.A. Art in the 1990s” at the Museum of Contemporary Art in 1992.
The Getty’s acquisition of Pettibon’s archive may seem surprising given the citadel’s pristine reputation, but the relationship between the artist and the institute dates back to the early 1990s when Pettibon donated 40 drawings to the GRI. Over the years, he has continued to contribute artists’ books, zines, and other materials. In fact, Pettibon was an artist-in-residence at the GRI in 2003-4, delving into the theme of “Markets and Value.”
While the archive primarily consists of drawings, prints, and ephemera, the Getty Conservation Institute will receive materials and videos related to Pettibon’s creative process. This will provide valuable insights for conservators in understanding the artist’s techniques and methods.
Although paintings are not part of the archive, the inclusion of works on paper offers a unique glimpse into Pettibon’s artistic process. The archive contains images clipped from magazines and comics, xeroxed materials, and finished prints and drawings, showcasing every step of the artist’s creative journey.
Overall, the acquisition of Raymond Pettibon’s archive by the Getty is a testament to his lasting impact on the art world and a valuable addition to the institute’s collection. This collaboration between artist and institution promises to shed new light on Pettibon’s artistic legacy and creative process for generations to come.
