Raymond Pettibon on the Black Flag blessing and curse
Raymond Pettibon is not afraid to speak his mind. The 57-year-old artist, who is well known for defining the aesthetic of punk in the early ’80s with his iconic designs for bands like Black Flag and Sonic Youth, gives a bit of lip in a new video made by culture magazine 032c to celebrate his debut collection with Supreme.
Talking about his connection with the sons of hardcore – founder Greg Ginn is his brother and Raymond is credited with coming up with the band’s name and logo – Raymond says: “Being known as a punk artist, especially a punk artist who is doing record covers, was not hell of a entry way into the art world. They were drawings, I wasn’t thinking of them going on Black Flag covers – they would choose them. Honestly, it kept me back like ten years because I was put in the category of an illustrator, or a punk rock artist, which I still get. More people recognise my work for my lettering than my art. It’s become part of the advertising world. Jeez, I’m somewhat responsible for all these slackers and skaters and rock-and-rollers to bridge that gap. People ask me often, ‘How do you make it?’ I mean in my case, I’m not the person to ask.”
Characteristically enigmatic – Raymond’s Twitter account is a treasure trove of swirling wordplay and political provocation (e.g. “Bill Cliton(‘I feels yo pain’–his ‘Peace w/Honor’):when’s last time U came in Hilary’s grimey mouf?Condoleeza’s?Bibi’s?Sckonthis btch.”) – Raymond gives the interview in conjunction with the release of his new Supreme collection, which features corrupt cops on decks and tops.
Proceeds from the sales of these items will be given to the Silverlake Conservatory of Music in Los Angeles – a non-profit organisation created in 2001 to offer disadvantaged people the opportunity to study music with exceptional teachers at little or no cost.
Raymond may be cautious about being pigeonholed as the Black Flag guy, but his work and his creative choices have independently influenced generations of “slackers, skaters and rock-and-rollers” to reject the mainstream and strike out on their own for many years. It’s that, not four black bars, that continues to be his legacy.
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