• Grid
  • List

Collections> Browse > No title (The director’s ass)

Collections> Browse > No title (The director’s ass)

Image Rights
Courtesy Walker Art Center
Copyright retained by the artist


All content including images, text documents, audio, video, and interactive media published on the Walker website (walkerart.org) is for noncommercial, educational, journalistic and/or personal use only. Any commercial use or republication is strictly prohibited. Copying, redistribution, or exploitation for personal or corporate gain is not permitted.

For information on the use of reproductions for publishing and/or commercial use, please contact rights.reproductions@walkerart.org.

No title (The director’s ass)
Raymond Pettibon
sheet 18-½ × 11 inches
ink on paper
Not on view

Object Details

Drawings and Watercolors (Drawings)
Accession Number
in pencil on reverse upper R “Raymond Pettibon 91”; in pencil on reverse lower R “RaP 2473”
Physical Description
a sequence of the rear shots; text reads “The director’s ass double. Sent out for sandwiches…recognized- -for my own. small town…big star…get around. He might borrow this ass without seeming too patronizing (without a pat on the ass), I should apply it to the genius of the director’s chair and say ‘Sit on it!’ 'I ordered cheese!’ Don’t have a fit - thought you said cheese for me (smile) - have my salami instead…'Don’t mind if I do - on my ryebread?’ Sure thing - Now say cheese like you mean it? - I’ll learn…'Hmm…Fuck cheese: This is good…mmm.yum. You did good- - Here’s half- - DIg in.’ He sat downto his theme (the camera swivels in to dolly for a clue like a fidgeter in his art-house seat) in a serious, businesslike way, with his socks on his side of chalk and his eyes occassionally wondering to the clock. Crack in my jeans wound so tight…Doing tonight? Nothin’, too? He writes, he feels, he judges like a man (both scripted and directed), talking plainly and frankly (walking that which he speaks) about many things, and is by no means desititute of a certain saving grace of coarseness (which he exhibits here slipping into jeans). Double-take…'Again!’ Overtime and a half…'Take 10 and a half’…No half-ass: Twice as hard…'Learning fast.’ But he has kept the purity of his imagination while holding fast to old-fashioned reverences and preferences: Always on cue, all the while inspiring in the crew, even down to the screen writer, screen fantasies which taking off (take it all off!) where the picture leaves off. Two reeler’s. One- man on an all him - industry: now turn the other cheek: your best side! "Auteru! Get your ass over here!” The director did.“
Credit Line
T. B. Walker Acquisition Fund, 1996