Robert Williams (artist)
March 2, 1943
|Education||California Institute of the Arts|
|Known for||Oil on canvas|
|Notable work(s)||Appetite for Destruction|
Williams was one of the group of artists who produced Zap Comix, along with other underground cartoonists, such as Robert Crumb, S. Clay Wilson, and Gilbert Shelton. His mix of California car culture, cinematic apocalypticism, and film noir helped to create a new genre of psychedelic imagery.
He currently lives in the San Fernando Valley in California with his wife Suzanne, who is also a professional artist.
Robert L. Williams II was born on March 2, 1943, in Albuquerque, New Mexico, to Robert Wandell Williams and Betty Jane Spink.
At a very early age, he displayed an interest in drawing and in painting with watercolors. He was enrolled in the Stark Military Academy in the first grade. Perhaps this led, later in life, to his collecting German Pickelhauben.
Williams was instilled at an early age with a love for car culture. His father owned The Parkmore, a drive-in restaurant, complete with carhops, which was frequented by hot rodders. Williams received his first car, a 1934 Ford five-window coupe, at 12 years of age as a gift from his father. References to his childhood environment can be seen throughout Williams's work, as well as in the custom hot rods which he would later build himself.
He became so skillful at painting specular reflection from chromed auto parts that he later drew the chrome parts for other comix artists, who drew the rest of the auto.
The Williams household was unstable, as his parents married each other a total of four times. During his early childhood, Williams was shuttled between Albuquerque, New Mexico, and his father's home in Montgomery, Alabama. The parents' final separation occurred in 1956, after which 12-year-old Robert lived with his mother in Albuquerque. He became a delinquent youth, immersed in hot rods, high jinx, and street gangs; this led to his being expelled from public school in the 9th grade.
To avoid the possibility of a jail term, Williams moved to Los Angeles in 1963 at the age of 20. There he enrolled in art courses at Los Angeles City College, where he contributed artwork to the school's paper, The Collegiate. He also met Suzanne Chorna, his future wife, at this school.
After that, he briefly attended the California Institute of the Arts (formerly the Chouinard Art Institute), where he was branded an "illustrator" in derogatory fashion. Now married, Williams left the art school and became a professional artist in search of work. He worked for Black Belt magazine and designed containers for the Weyerhaeuser Corporation before he found his dream job in 1965 with Ed "Big Daddy" Roth.
In the late 1960s, while doing advertisements and graphics for Roth, Williams was also a productive oil painter. It was during this period that he created his "Super Cartoon" paintings, which included Appetite for Destruction and In the Land of Retinal Delights. These paintings were meticulously created in the style of the old masters, using hand-made paints and multiple layers of varnish. The "Super Cartoon" works sold well but were very time-consuming to produce, sometimes requiring more than a year.
When Roth's studio closed, Williams joined the Zap Comix collective of artists and flourished within the non-conformist, anti-establishment art movement of that time, along with R. Crumb, S. Clay Wilson, Gilbert Shelton, Spain Rodriguez, Rick Griffin, and Victor Moscoso. In 1969 he created Coochy Cooty, his seminal underground comix antihero. His creation was unleashed in 1970 in Coochy Cooty Men's Comics and in Zap Comix #5 and is still alive today in Williams's oil paintings.
Many of Williams's comix and "Super Cartoon" paintings were included in his first book, The Lowbrow Art of Robert Williams, which was published in 1982 by Rip Off Press. The title of the book was meant as a statement about the current highbrow tone of the art world, which was antithetical to Williams's artwork.
In the 1980s, Williams became involved with the punk rock movement and found his next audience. During this period, he published Zombie Mystery Paintings, which influenced and inspired a multitude of artists with its vibrant, sexy, and ultra-violent images. These works were done quickly, on rough canvas, and were sold via a waiting list due to heavy demand. In addition to Williams's books, the popularity of his work was established in avant-garde galleries, such as Billy Shire's La Luz de Jesus Gallery, Zero One Gallery, and the Tamara Bane Gallery.
Visual Addiction was Williams's next book of paintings. The works it contained were rendered more tightly and began to contain detailed background elements and vignettes. This book also contained Williams's "Rubberneck Manifesto," which stated that:
Something dead in the street commands more measured units of visual investigation than 100 Mona Lisas!
Williams published several more books as his work progressed in content, style, and size. His paintings moved from "zombie sex" to quantum mechanics and had sold-out shows on both coasts, generating demand for them from around the world. He influenced other artists and gave them a voice through publications such as Art? Alternatives in 1992 and, later, Juxtapoz Art & Culture Magazine.
Williams founded Juxtapoz in 1994; the magazine propelled to fame many new artists and rose to become one of the most-circulated art magazines. The year 1997 saw the publication of the retrospective Malicious Resplendence and his one-man show at the Tony Shafrazi Gallery in New York. Two more Shafrazi shows followed, in 2000 and 2003. These works were published in Through Prehensile Eyes in 2005.
His next one-man show was in 2009, once again at the Shafrazi Gallery; it was titled "Conceptual Realism: In the Service of the Hypothetical." A catalog of the same title was published. This exhibition moved to California State University, Northridge in 2010, where Williams provided a tour of the works, as well as a lecture defining his art movement, Conceptual Realism.
In 2010, Williams was busy with his inclusion in the Whitney Biennial at the Whitney Museum of American Art in New York and with the release of a feature-length documentary film about himself. This was titled Robert Williams, Mr. Bitchin and premiered on June 16, 2010, at the Los Angeles County Museum of Art, where it received a standing ovation. The film was produced by Rhino Films and Foundation Films and documents Williams's rise to fame from his car-culture and underground-comix roots.
In 2011, Williams took part in the Los Angeles Art Fair and delivered another lecture on his art movement. His work was also included in the "Two Schools of Cool" show at the Orange County Museum of Art.
Williams has participated with other artists in "The Art Boys," a venture which included such notables as Gary Panter, Matt Groening, The PIZZ, Mike Kelley, Neon Park, and Mark Mothersbaugh.
The antics of Coochy Cooty and such paintings as Oscar Wilde in Leadville and Appetite for Destruction (which was featured as cover art on the Guns N' Roses album of the same name, until public outrage forced Geffen Records to move it to the inside sleeve) caused many a mini-furor. Here is Williams's response, excerpted from a 1992 interview:
I do not believe that my representation of females aids in their oppression. It is my artistic right to render the images of woman as my imagination sees fit. Remember, I will gladly accept the title "Bad Person" to continue my expression. In other words, nothing short of death will stop me from painting nekkid ladies ....
Of his paintings, Williams has stated:
My paintings are not designed to entertain you; they are meant to trap you, to hold you before them while you try to rationalize what elements of the picture are making you stand there.
Of the term "lowbrow," Williams steadfastly denies that the term was ever meant to define his work, saying that it was merely used in the title of his first book.
There was never any intention to make the title of my book the name of a fledging art movement but, over time, that seems to be what has transpired.
In a 2008 lecture which he delivered at the Oakland Museum of California, Williams stated:
- The Lowbrow Art of Robert Williams, Last Gasp
- Zombie Mystery Paintings, Last Gasp
- Visual Addiction (out of print), Last Gasp
- Views from a Tortured Libido, Last Gasp
- Malicious Resplendence, Fantagraphics
- Hysteria in Remission, Fantagraphics
- Through Prehensile Eyes, Last Gasp
- The Hot Rod World of Robt. Williams, Motorbooks
- Conceptual Realism: In the Service of the Hypothetical, Fantagraphics
- Lowbrow Artworld
- Malicious Resplendence 1997
- власник: sketchv's channel (2010-02-22). "Robert Williams Show Tour CSUN 2010". YouTube. Retrieved 2011-08-30.
- власник: sketchv's channel. "Robert Williams Lecture 2010". YouTube. Retrieved 2011-08-30.
- власник: sketchv's channel. "Robert Williams: Mr Bitchin' Q&A". YouTube. Retrieved 2011-08-30.
- "Robert Williams Lifetime Achievement Award". YouTube. Retrieved 2011-08-30.
- Fizz magazine #3 1995
- Motorbooty #3 1988
- "La Luz de Jesus Presents The Pizz". Laluzdejesus.com. Retrieved 2011-08-30.
- Art? Alternatives #1 1992
- Malicious Resplendence 1997
- beinArt.org article on Robert Williams
- "Robt. Williams Lecture Oakland Museum Of CA 2008 Pt.10". YouTube. 2008-12-02. Retrieved 2011-08-30.
- "Robert Williams on Art News 02". YouTube. Retrieved 2011-08-30.
- OFFICIAL Robert Williams website
- "Lowbrow God", Robert Williams lecture from the L.A. Paint show at the Oakland Museum of California in 2008. YouTube video, requires Flash.
- "Abstract Leanings: The Hot Rod World of Robt. Williams", Gallery of some of Robert Williams' automobile related oil paintings.
- "ACID HEAD: The Conceptual Realism Of Robert Williams" Williams defines his art movement, Conceptual Realism. YouTube video, requires Flash.
- The History Of The Rat Rod, Part II: Robert Willims’ Eights & Aces