RESOURCE PACKET

TODD

COCKTAILATOMIC

SCHORR:

Todd Schorr. Ape Worship, 2007. Acrylic on canvas. 96 x 120 inches. Collection of Mark Parker. ©Todd Schorr

Photo courtesy of Todd Schorr

ABOUT THE ARTIST

Close your eyes. Think back to your childhood. What movies did you love? What toys did you play with? What did you read? What had a lasting impact on these formative years in your life?

Artist Todd Schorr lays his childhood out for all to see in his monumental, and autobiographical, paintings. There is no mistaking these works for anything other than the visual diary of a child of mid-century America. King Kong, comic books, monsters, hot rods, and cartoons take over his canvases, creating the story of a childhood during the atomic age. Raised on television, pulp culture, and pop culture, Schorr draws inspiration from the significant moments, and mementos from his youth. But these paintings are not just odes to his boyhood inspirations. The familiar figures from Western Culture draw you in, but as you look longer, you can see that Schorr is making a statement about our contemporary society.

In The Deviled Egg (2000) the prominent figure of Humpty Dumpty, a staple in nursery rhymes, is shown as the devil. Schorr executed the painting in a style that harkens back to both Salvador Dali and Ed “Big Daddy” Roth. Roth was a prominent figure in the 1950s and 1960s hot rod movement. He was an artist , custom car designer, and creator of Rat Fink, the anti-hero to Mickey Mouse. In the painting we see a chicken being injected by a needle held in the black gloved hand of an anonymous figure. Coming from the chicken is an egg which cracks open revealing a yolk, which transforms from a skull, to demon,

to a gluttonous face reminiscent of Porky Pig. The yolk lands in the frying pan of an unsuspecting consumer. “Do you know what you are eating?”

In Atomic Vacation (2010) we see a stereotypical nuclear family, too involved in themselves to pay attention to the world around them. The son seems to be tempting fate with a large scorpion, a creature which represents change and potential danger in some cultures. The daughter looks on with disinterest , holding a kachina doll, a carved representation of Pueblo deities. In Hopi culture the color black, used on the kachina doll, sometimes represents Nadir, the underworld. The mother is busy getting the picnic meal together, again too focused on what she is doing to pay attention to the impending doom. The only person in the scene that seems to notice what is happening is the father, whose reaction we cannot see. Is it fear, shock, horror, or disbelief? Above the family the Four Horsemen of the Apocalypse have been unleashed on the earth. This painting begs the question, is humankind so blind to the world around them that it could all end without notice?

Todd Schorr grew up in suburban New Jersey. He earned a degree in Illustration from the Philadelphia College of Art (now called the University of the Arts). Soon after graduating he moved to New York City to pursue a career as an illustrator. His work can be found on magazine covers, album covers and movie posters. Eventually, Schorr left the world of commercial art to focus on painting. He is now considered one of the preeminent figures in the Lowbrow art movement. Todd Schorr: Atomic Cocktail at Virginia MOCA is the first solo museum exhibition of his work in almost 10 years.

ABOUT THIS GUIDEThis guide identifies some of the main themes that appear in Schorr ’s works and groups the paintings in the show under these themes. They provide a basis for starting conversations about his work. You’ll notice overlapping of themes for many artworks.

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POP CULTURETodd Schorr is considered one of the masters of the Lowbrow art movement, a genre of art that pulls from pop culture, counter culture, classic art, Surrealism, media, and much more. Often there is humor infused in the art, sometimes light-hearted, sometimes sarcastic and biting. Schorr’s use of humor, wit, and edge, is part what makes his work approachable, and at the same time loaded. Todd Schorr: Atomic Cocktail is filled with works that address social issues, the environment, the self, etc. But not every piece needs to tackle an issue or make a statement. Some were created to serve as ‘historical documentaries’ (Geraci, 2003). Paintings like Into the Valley of the Finks and Weirdos (2013), Parade of the Damned (2004), The Planet of Lost Robots (1995), and Verne to Vader: Noteworthy Highlights Concerning the History of Space Fiction as Represented in Popular Culture (1997) are just that, visual encyclopedias of Schorr’s life, loves, and interests. Verne to Vader: Noteworthy Highlights Concerning the History of Space Fiction as Represented in Popular Culture (1997) is one of the artist’s most ambitious paintings. The work, commissioned by the CEO of Nike, Mark Parker, took the artist 5 months to complete working sixteen-hour days. Schorr and Parker share a love for space related pop culture. Into the Valley of the Finks and Weirdos (2013) is an homage to the early hot rod culture artists Ed “Big Daddy” Roth, Bill Campbell, Von Dutch, and others.

In Parade of the Damned (2004) you can easily see the influence of art history on Schorr. The composition of this painting is inspired by Pieter Bruegel the Elder’s Dull Gret (1562), also known as Mad Meg. Instead of women revolting and marching to the mouth of hell we see our favorite heroes and villains from classic horror. The question is, are they holding their own revolt, or heading home to the dark corners of our imaginations? Throughout Schorr’s works you can see the influence of artists like Pieter Bruegel the Elder, Hieronymus Bosch, and Salvador Dali.

The Planet of Lost Robots, 1995. Acrylic on canvas. 30 x 40 inches. Collection of Mark Parker. ©Todd Schorr

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Parade of the Damned, 2004. Acrylic on canvas. 60 x 84 inches. Collection of Mark Parker. ©Todd Schorr

Into the Valley of the Finks and Weirdos, 2003. Acrylic on canvas. 60 x 84 inches. Collection of Mark Parker. ©Todd Schorr

QUESTIONS

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High School/Middle School

• These paintings take inspiration from very specific parts of pop culture, science fiction, horror movies, and hot rod culture. What do you think drew Schorr to these genres? What do these paintings tell you about what the artist values?

• How does popular culture influence your life? How would you show that influence in a work of art?

Elementary School

• When you look at these works, some figures are larger than others. Why do you think the artist did that?

• What games, toys, TV shows, books, and movies are you interested in? If you were going to create a work of art which included those interests, which ones would you choose? Why?

• Looking at the painting above. What does Schorr tell you about the history of science fiction?

Verne to Vader: Noteworthy Highlights Concerning the History of Space Fiction as Represented in Popular Culture, 1997. Acrylic on canvas. 48 x 96. Collection of Mark Parker. ©Todd Schorr

SELF-PORTRAITSTodd Schorr: Atomic Cocktail is a glimpse into the childhood of the artist. It was a childhood immersed in pop culture, movies, comics, sci-fi movies, horror movies, and imagination. The artist uses “symbolism relevant to my time and place” (Schorr, 2009). To further solidify the fact that these works are reflective of the artist himself is the inclusion of Todd Schorr as a child in the paintings. In Ape Worship (2007) we see a young Schorr glued to a television showing the 1933 King Kong movie. A pivotal moment in the artists life, the movie captured his imagination, and solidified his lifelong love for apes. In The Amphibian Frontier (2000) we see another moment in the artists life illustrated. As a child Schorr loved to catch frogs and toads. One day while attempting to capture the king of toads, Schorr stepped onto a yellow jacket nest, which resulted in over 50 stings. The combination of yellow and black, being both man and nature’s signal for warning, dominate this painting.

In The Spectre of Cartoon Appeal (2000), The Spectre of Monster Appeal (2000), and Lessons in Ballyhoo (2011) the artist becomes a “’carny barker’ ushering people into his fantasy worlds” (Schorr, 2009). While these paintings reflect poignant visual imagery in the artist’s life, any viewer can look at them and recognize characters and figures, and, hopefully, make their own connections.

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The Amphibian Frontier, 2000. Acrylic on canvas. 60 x 36 inches. Courtesy of Alexander Bodecker. ©Todd Schorr

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The Spectre of Monster Appeal, 2000. Acrylic on canvas. 60 x 84 inches. Private Collection. ©Todd Schorr

Lessons in Ballyhoo, 2011. Acrylic on canvas. 72 x 60 inches. Collection of Mark Parker. ©Todd Schorr

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High School/Middle School

• Which figures in these works stand out to you? How do they enhance your understanding of the artist?

• If you were going to create a self-portrait , but not show your face, what would you include? What would be important for viewers to know about you?

• In The Spectre of Cartoon Appeal (2000) and The Spectre of Monster Appeal (2000) the large central figure has three heads. Why do you think the artist did that? What does that tell you about those figures?

Elementary School• How would you describe the figure in the center of these

paintings? What can you tell about the artist by these paintings?

• What is a self-portrait? How are these self-portraits if we don’t see the artist ’s face?

• Think of an important moment in your life, how would you represent that in a work of art? Would you include yourself?

The Spectre of Cartoon Appeal, 2000. Acrylic on canvas. 60 x 84 inches. Collection of Mark Parker. ©Todd Schorr

Ape Worship, 2007. Acrylic on canvas. 96 x 120 inches. Collection of Mark Parker. ©Todd Schorr

QUESTIONS

SOCIAL COMMENTARYOne of the important aspects of contemporary art is its innate ability to comment on contemporary culture. Todd Schorr does this in a way that is both approachable and powerful. His cartoon style appeals to the viewer’s inner child, but as you look closer and deeper, there is a darkness apparent.

It ’s easy to get drawn to the cotton candy colors and the intent looks on the main figures’ faces in the paintings Blue Boy (2013) and Pinky (2013). But they aren’t looking at each other. Quite the opposite, their backs are to each other. They are looking at their phones, interacting through technology, rather than turning around for face to face conversation. For the female figure in A Date with Mr. Big Bad (1985), painted before the advent of online dating, she may have wished to have technology as a barrier. The Hydra of Madison Avenue (2001), No Solar Power for Fairyland (2014), and The Deviled Egg (2000) show the power, and repercussions of mass consumerism. Flat World (2012), Atomic Vacation (2010), The Hidden Neanderthal (2011) and Neverlasting Miracles (2012) show society’s collective ignorance and arrogance. We need to open our eyes to truth, the world around us, accept that we are not superior to others, and we can’t stop change from happening. SO

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Neverlasting Miracles, 2012. Acrylic on canvas. 72 x 60 inches. Collection of Mark Parker. ©Todd Schorr

The Hidden Neanderthal, 2011. Acrylic on canvas. 84 x 30 inches. Courtesy of KP Projects Gallery. ©Todd Schorr

A Date with Mr. Big Bad. 1985. Gouache on paper. 23 x 30 inches. Private Collection. ©Todd Schorr

The Deviled Egg. 2000. Acrylic on canvas. 30 x 40 inches. Courtesy of Oliver Hengst and Elizabeth Wang-Lee. ©Todd Schorr

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Atomic Vacation. 2010. Acrylic on canvas. 72 x 84 inches. Courtesy of Alexander Bodecker. ©Todd Schorr

No Solar Power for Fairyland. 2014. Acrylic on canvas. 69 x 84 inches. Private Collection. ©Todd Schorr

Blue Boy. 2013. Acrylic on canvas. 30 x 24 inches. Courtesy of KP Projects Gallery. ©Todd Schorr

Pinky. 2013. Acrylic on canvas. 30 x 24 inches. Courtesy of KP Projects Gallery. ©Todd Schorr

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High School/Middle School

• What statements does Todd Schorr make about our society in these works?

• How do you think the artist feels about advertising? What makes you so say?

• Schorr recreates visual images from his childhood. What would fill his paintings if he used images that are popular today?

Elementary School

• Take a look at The Hydra of Madison Avenue (2001). What familiar figures do you see? How has the artist changed the figures? Why do you think he did that?

• If you were going to create a work of art inspired by something happening in the world today, what would you choose? How would you show that issue in a work of art?

The Hydra of Madison Avenue. 2001. Acrylic on canvas. 60 x 84 inches. Collection of Mark Parker. ©Todd Schorr

Flat World. 2012. Acrylic on canvas. 20 x 14 inches. Courtesy of KP Projects Gallery. ©Todd Schorr

QUESTIONS

LONE FIGURESo many of Todd Schorr’s painting are filled to the brim with information. They can almost be overwhelming in their busyness. In contrast, paintings like The Roasted Nut (2013), The Alchemist (2012), Einstein’s Mushrooms (2013), and the lone sculpture in the exhibition, The Cyclopean Potentate (1998) focus on one main character. As with all Schorr’s work, they are reflective of the information that the artist has consumed. The Roasted Nut (2013) is based on the cover of a Zap Comix book. These adult comic books probably most appeal to juvenile males. Still into comics but looking for something a little racier. Also inspired by a “literary” source is The Cyclopean Potentate (1998), drawn from a lesser known episode of The Thousand and One Nights (Schorr & Filippo, 2010). This regal looking worm sits attentively on his cushion, observing something we can’t see. Works like The Alchemist (2012) and Einstein’s Mushrooms (2013) pull from history, the forerunner to chemistry and Einstein’s love for eating mushrooms.

Collectivity these pieces feel like little nuggets of a story. They are the quieter, more readily digestible, side stories to the larger narrative works. While the larger scale, busier works, contain imagery that is more universally recognizable, these works harken to the more esoteric tidbits of information we pick up along life’s journey.

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on hardwood base. Limited edition of 10. 24 H x 21 W x 21 D inches. Collection of Mark Parker. ©Todd Schorr

High School/Middle School

• Many of Todd Schorr ’s paintings contain a lot of imagery and information. The works under this theme tend to have simpler compositions. Why do you think the artist created these works, which bring the focus to one main figure?

• Much of Schorr ’s work is autobiographical. We see the artist as a young child in works such as The Spectre of Cartoon Appeal (2000). If Schorr was going to include himself in these paintings what age do you think he would be? What in these works make you say that?

Elementary School

• Why do you think the artist chose these figures to focus on?

• What do you think the artist is trying to say about the characters in these paintings?

• If you were going to create a work of art that focuses on one central figure, who/what would you choose? Why? How would to portray them?

The Roasted Nut , 2013. Acrylic on panel. 10 x 8 inches. Collection of Kathy Staico Schorr. ©Todd Schorr

The Alchemist, 2012. Acrylic on canvas. 30 x 24 inches. Courtesy of KP Projects Gallery. ©Todd Schorr

Einstein’s Mushrooms, 2013. Acrylic on canvas. 30 x 24 inches. Collection of Brad and Kim Keech. ©Todd Schorr LO

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On view at Virginia MOCASEP 22–DEC 30, 2018

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ArtSceneCal. (2010). Todd Schorr. Retrieved March 28, 2018, from http://www.visualartsource.com/index.php?page=editorial&pcID=36&aID=464

Geraci, M. (2003). Mutant kiddies: The art of Todd Schorr, Joe Sorren, Eric White, Daniel Ouellette. Bologna, Italy: Mondo Bizzarro Press.

Interviews: Todd Schorr « Arrested Motion. (2009, March 24). Retrieved June 30, 2018, from http://arrestedmotion.com/2009/03/interview-todd-schorr/

Kemp, M. (2009, September 02). Pop artist displays primitive instincts. Retrieved March 28, 2018, from https://www.nature.com/articles/461042a

Schorr, T., & Heimann, J. (1998). Secret Mystic Rites: The Art of Todd Schorr. San Francisco, CA: Last Gasp.

RESOURCES

Schorr, T. (2009). American Surreal. San Francisco, CA: Last Gasp.

Schorr, T., & Filippo, P. D. (2010). Dreamland. San Francisco, CA: Last Gasp Press.

Schorr, T. (2017). Neverlasting Miracles. San Francisco, CA: Last Gasp.Scott, G. (2017, May 16). Blurring the Lines: Todd Schorr & Jeff Soto. Retrieved July 7,

2018, from http://artltdmag.com/2009/07/blurring-the-lines/

Solovitch, S. (2009, July 10). Todd Schorr’s art? Imagine Vermeer painting King Kong. Retrieved July 1, 2018, from https://www.mercurynews.com/2009/07/10/todd-schorrs-art-imagine-vermeer-painting-king-kong/

The Contemporary Art of Atomic Vacation by Todd Schorr. (2018, February 21). Retrieved July 13, 2018, from https://www.bartleby.com/essay/The-Contemporary-Art-of-Atomic-Vacation-by-F3TCVLECDM6A

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IN-KIND SUPPORT FROM

MOCA’S E XHIBIT IONS ARE SUPPORTED IN PART BY

Portsmouth Museum and Fine Arts Commission Chesapeake Fine Arts Commission

Richard & Caroline T. Gwathmey Memorial Trust | Morningstar Foundation

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