Weirdo Deluxe: The Wild World of Pop Surrealism \u0026 Lowbrow Art by Matt Dukes Jordan

Weirdo Deluxe: The Wild World of Pop Surrealism \u0026 Lowbrow Art Reviews

• 
  patty

  Excellent mix of artists and their work. Just purchased my own copy after checking out from the library. The Isabel Samaras work is reason enough to take a look.
• 
  Jim Razinha

  I found this one in an antique mall and the topic and art grabbed me. The writing as well... Jordan has fun: “They gazed appreciatively at graffiti and picked up plenty of punk-rock posters and underground comix in homemade temples created by folk artists, they savored the splendor and terror of bottle-cap Madonnas and apocalyptic glitter paintings. […] They were never the same again. From then on, these artists created art that expresses a jaded joviality amidst the kitsch luxury trash and tortured toyland of twentieth century American pop culture.”
  
  So. Lowbrow art. Turns out I like a lot of it, am familiar with some of the artists, and had a bit to learn about its history and players.
  “One of the defining aspects of lowbrow art is its narrative quality: many of these paintings tell stories and could be scenes from films, animation cels from cartoons, or panels in comic books.
  In keeping with its narrative quality, lowbrow art is nearly always figurative, representational. These paintings represent people, places, and things in the world and are rarely abstract.”
  
  I generally prefer representational art, and I have an affinity for the surreal, and I found this one fascinating and satisfying.
  
  Noted comments from some of the artists in the book:
  
  Anthony Ausgang: ““I don’t like the term ‘lowbrow’ because it’s reactionary against highbrow. It doesn't need to define itself in terms of a reaction against elitist culture. The problem is, nobody can come up with a better term.”
  {I like this.}
  
  Glen Barr: “Occasionally, I did the gory paintings like a big bloodshot eye, the things that made that show [Ren & Stimpy] so charming.”
  {I know I am not alone in thinking there was absolutely nothing charming about that affront to animation!}
  
  Gary Baseman: “The way I work is to create a lot of chaos and then it all flows and lines up. I wouldn't say it’s just whimsical. I like walking the edge between work that’s very approachable and work that’s very daring.”
  {I recognize his style and some of his work (not a fan, but I recognize it.}
  
  Some of Joe Coleman’s shows the carnival influences of his childhood in Bridgeport, home of P.T. Barnum. And Todd Schorr’s work is similar (though brighter and more involved). I have a painting by a Dallas-based artist of a “Transatlantic Merry Go Round”, ScarJo and some circus performers. I think he might be on the edge of lowbrow.
  
  Skot Olsen: “Lowbrow is a movement with a bad name. | prefer to call my work ‘cartoon realism.’ I can see that | fit in, but like a lot of other lowbrow artists, | didn’t set out to be a part of it—it just happened. It seems that a lot of lowbrow is a regurgitation of pop culture and a reaction to conservative fine art. One end of it looks nothing like the other, and the two ends rarely see eye to eye.”
  
  Isabel Samara: “My hope is that lowbrow art inspires artists to pursue their own singular vision. Maybe if they see somebody making it doing very personal, very odd work, they'll feel emboldened to follow their own crazy path, even if it’s not popular or current. It’s funny because a lot of what's now considered lowbrow wasn’t all that popular originally, but as so often happens, when something becomes embraced by the underground it becomes more palatable or desirable to the masses. If you're doing anything other than what you love, stop wasting your time. Life’s too short. You do not have to be miserable to make interesting art, and losing an ear to madness is not a prerequisite to creativity, so find ways to be deliriously happy as often as possible. Bonus points if you can make somebody else happy while you're at it.”
  
  Joe Soren: “The label [lowbrow] isn’t important, it’s the work that’s important. If it’s good, it doesn’t matter what it’s called. If it’s bad, the label won't save it. For me, like I’m sure it is for many of the artists in this book, I've always felt like I’m off on my own tangent anyway. I’m just trying to wow myself and make the best work I can make. In the end, that’s all that matters.”
  
  Robert Williams, grandfather of lowbrow, was a bit salty: “Lowbrow art is antielite, exploratory, subversive, rebellious. I'm the point man. I caught all the fire and opened up the territory for everyone else. Now a lot of people are in this thing because it’s here, it’s a ride, and they couldn’t come up with a ride of their own. They're working this thing until they can jump off of it. Maybe I am too. I think this thing’s going to get more and more diluted. People will follow success. Shag—that’s the direction this will go. You're getting into three decades of people not knowing what underground art is. The next generation won't even know. Guys like Baseman who work for Disney know what the average mentality wants. That has nothing to do with lowbrow. My motive was to take cartoon imagery and take it up to the level of fine art and create a visual language that would take off in its own direction. That's too oblique for most of these people today, so I’ve given up on the direction I had for this thing originally. Any intentions | had have been rerouted.”
• 
  Bethany

  (3.5)
  
  Great intro to a fabulous group os artists that I have been wanting to know more about. Pretty surface interviews, but worth it for the pictures. After reading you will know which ones you would like to investigate further.
  
  Pet peeve: not enough info on the paintings themselves. For an art book it is nice to know what they were made with and the substrate - especially when the artist works in different ways.
  
  Would have preferred a more straightforward timeline at the start of the book as the one included was jumbled and hard to read.
  
  Also would have been nice to have some detail images of larger paintings that contained dense imagery.
  
  As this book is quite a few years old, it was very interesting catching up with the artist and seeing the trajectory of their careers.
• 
  Frederic

  Surveys "pop surrealist" / "lowbrow" art through 23 artists, for each giving a selection of their work and responses to a series of questions about themselves, their influences, creative processes, etc. Like his floow-up
  Weirdo Noir: Gothic and Dark Lowbrow Art this would probably make a great coffee-table book in a Brooklyn hipster's flat; for me they're interesting and useful for considering the range of (fairly commercial) contemporary art.
• 
  Carol Mann Agency

  From Booklist
  
  "The simultaneously retro and pomo lowbrow art movement is on display in cutting-edge galleries, such magazines as Juxtapoz, and such books as the long-running annual comics-art anthology Blab! Jordan points out in the introduction to this guided tour of the movement that the movement isn't itself lowbrow, though the influences on which it draws--punk rock, the tiki lounge revival, folk art, kitsch in general--decidedly are. Jordan showcases two-dozen artists, from pioneers (and former 1970s underground comics creators) Robert Williams and Gary Panter to younger practitioners Gary Baseman and Mark Ryden. More than 100 reproductions appear, along with the artists' comments on their obsessions, collections, and the movement; many of them disdain the lowbrow label, and Williams voices contempt for the "new guys" following in his footsteps, accusing them of wooing a mass audience. He has a point. The once subversive and slightly dangerous is now accessible and benign. Hence this book of attractive, clever, congenial stuff--especially so to those who enjoy pop culture at its most embarrassing." -- Gordon Flagg
  
  Copyright © American Library Association. All rights reserved
• 
  Amanda

  My first actual review and it's for a book I didn't like. I don't usually do reviews of anything, but I thought this was needed for this book.
  
  Ok, I was prepared to give this book a chance. I like learning new things, and just started getting interested in surrealism. However, this book was a disappointment. I had to look up lowbrow art online because the book isn't clear. The history segment was poorly put together, at times confusing and boring to read. The art presented in this book was interesting, but I was not happy to see the detailed genetalia of Judy Jetson. I understand th w art is lowbrow, but that was unnecessary.
  
  Beyond that there is a collection of art with some information on the artist. While the art is varied and intriguing, it seemed to all be from within ten years of the book's publication date, again disappointing.
  
  All in all, I would have gotten more coherent and useful information from the internet. The only saving grace was the non vile art was interesting.
  
  I don't recommend this book to anyone, even if you are an artist. Your time is better spent elsewhere. I will not look at this book again.
• 
  Nicholas Lubofsky

  I'd recommend this book to anyone. I suppose someone who doesn't like art wouldn't have any interest in this book, but what a dull life!
  
  This book contains sample art from a bunch of the greatest artists out there today. It's definitely the #1 book in my collection of books about art!
  
• 
  Amy

  This is an incredibly awesome art book. Showcasing 23 different artists with samples of their work and their commentary, there's tons of eye candy in here. The gateway to a world of fun.
• 
  Sebastien

  Decent overview of lowbrow and pop surreal art. Wish the book was bigger though, the images would have come across better.
• 
  Deni

  I learned that most of these artists live in LA in craftsman houses and drive hot rods. yawn. I enjoyed the work by Gary Panter and Gary Taxali the most.
• 
  Athena

  My favorites:
  Mark Ryden
  Camille Rose Garcia
  Tim Biskup
  Glenn Barr
• 
  Douglas

  It's a good book, but there's a disturbingly strong correlation between being featured in this book and living in a craftsman house in the Los Angeles area and driving an old idiosyncratic car.
• 
  Anna Pervukhin Sammons

  Great illustrations, but no more informative than average art history poultice.