Gary Panter was born in Oklahoma and raised in Texas. He studied painting at the East Texas State University and moved to Los Angeles in 1977. In L.A. he worked on multiple fronts, including painting, design, comics, and commercial imagery, establishing a pattern of creating across traditional boundaries, and in multiple media, that endures to this day.
In the late 1970s he exhibited his first major suite of paintings and drew posters and fliers for the likes of The Germs and The Screamers. He also began a long association with the various incarnations of Pee-wee Herman, as well as creating the early adventures of his punk/nuclear/hillbilly alter ego, Jimbo. In 1980 Gary published "The Rozz-Tox Manifesto", a highly influential document that directed his generation to infiltrate the mainstream with underground ideas and culture.
Gary's paintings occupy a large portion of a very prolific 1980s, during which he also designed the sets and puppets for Pee-wee's Playhouse, completed record covers for the likes of The Red Hot Chili Peppers, and maintained an active comics output through his own mini-comics and his contributions to Raw magazine and other anthologies.
Returning to comics in the early 1990s, Gary drew seven issues of a Jimbo comic book. He then began delving into light shows, staging elaborate psychedelic performances in his studio space. More recently, he has collaborated with Joshua White, and the duo has mounted lightshows at the Hirschhorn Museum in Washington, D.C. and at New York’s Anthology Film Archives.
In 2006-2007, Gary was a featured artist in the touring exhibition, Masters of American Comics. His paintings and drawings have recently been exhibited at Dunn and Brown, Dallas and Clementine Gallery, New York. In 2008, Gary was the subject of a one-man show at the Aldrich Contemporary Art Museum.
His books include a comprehensive monograph, Gary Panter (PictureBox), and four graphic novels: Jimbo in Purgatory (Fantagraphics); Jimbo's Inferno (Fantagraphics); Cola Madnes (Funny Garbage); Jimbo: Adventures in Paradise (Pantheon). Gary has won numerous awards, including three Emmy Awards for his production design on Pee-wee's Playhouse, as well as the 2000 Chrysler Award for Design Excellence.
Gary Panter Untitled 1984 acrylic on paper 22.75 h x 30 w in (58 x 76 cm) Signed and dated to frame backing board 'G. Panter 84'. This work will ship from Los Angeles, California.
Gary Panter Nestle Crunch Concept c. 1972 color pencil and ink on paper image: 6.5 h x 4.5 w in (17 x 11 cm) Sold with a digital copy of correspondence between Jason Polan and the artist. This work will ship from Lambertville, New Jersey.
Gary Panter (American, b. 1950) The Pee-Wee Herman Show Poster, 1981 Lithograph on paper 29-3/4 x 22 inches (75.6 x 55.9 cm) (sheet) Original poster from one of Pee-Wee Herman's post-HBO special runs at Los Angeles' famed improv comedy theatre, The Groundling Theatre & School, of which Herman was an alumnus. HID01801242017
Original artwork. Gouache on paper. Approx. dimensions: 30 in H x 22.5 in W. Provenance: From the Estate of Film Producer and Graphic Artist David Weisman (1942-2019).
Panter, G. and Beyer, M. Panter versus Beyer. N.pl., CBO Editions, 2003, 5 fold. lvs. (incl. wr.), printed entirely in col. silkscreen in 100 numb. copies, large folio. = Collaboration between two American underground cartoonists, Gary Panter and Mark Beyer. AND 1 other.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
(lot of 2) Framed etchings, 1973, dated and signed lower right Gary Panter (New York, California, b.1950), sight: 9"h, 11.75"w, overall: 13.75"h, 16"w, including: (1) "Boy's Life," artist's impression, (1) "The Secret Link;" 6.5lbs total Start Price: $80.00
Three acrylic cat collages on cardboard. 1995. All signed and dated on reverse of each. To include correspondences from the artist to Eddington regarding the Cat Project. Largest: 11 5/8" x 8 1/4".
Mel Panter "Buffalo And Hunter" Original Oil On Canvas Painting 20x24 canvas 25x29 frame Framed in nice rustic natural wood frame. Mel Panter is well known in Texas for his Texas landscapes and indigenous people and animals. He is the father of "PeeWee's Playhouse" visionary, Gary Panter. From NY Times http://www.nytimes.com/2012/01/08/us/mel-and-gary-panter-have-a-father-and-son-art-exhibition-in-sulphur-springs.html?_r=0 SULPHUR SPRINGS ? It was a perfect family moment for Gary Panter ? the punk visionary, underground comics master and ?Pee-wee?s Playhouse? set designer ? and his father, Mel. The son?s culture-bending Day-Glo artwork was displayed in a small-town gallery in Northeast Texas alongside his father?s oils of iconic Texana. Gary, 61, flew in from New York for the holidays with 11 of his paintings for his first art exhibition in his sleepy hometown of 15,400, about 80 miles northeast of Dallas. Son and father toted their work to the downtown Connally Street Gallery, and their show?s Dec. 26 opening night had the jarring yet oddly sweet feel of performance art. Gary?s masonite boards featured seminaked women, a head-chopping cyclops named Andy and a doe-eyed goldfish. On his father?s canvases, cowboys galloped after stray dogies or dozed in bluebonnets, Indians rode in canyon shadow, and longhorn and buffalo stood as proud as stock-show champions. ?Seeing my work next to his, it?s a wonderful thing,? Gary said, smiling at his 84-year-old father and munching on Walmart-brand pimento cheese on white bread. ?He?s a serious artist.? As is Gary. He is best known for creating the outlandish world of ?Pee-wee?s Playhouse,? which won him three Emmys and forever altered Saturday morning television. Before that, he defined punk art and culture, creating album covers for musicians as varied as the Red Hot Chili Peppers and Doc and Merle Watson. His work so influenced his friend and fellow artist Matt Groening, creator of ?The Simpsons,? that Bart?s spiky hairline is in homage to Gary?s cartoon character, Jimbo. In the fall, an art-comic magazine declared Gary the Jackson Pollock of comics. The idea for the father-son show came in August, when Gary visited for a high school reunion. Pam Elliott, whose husband was a few years behind him, mentioned opening an art gallery downtown. She jokingly asked if Gary might show his work. He proposed a Christmas show. Mel offered his art, and Gary promised to bring as many paintings as he could fit in his carry-on luggage when he, his wife and their daughter flew down for the holidays. On the night after Christmas, the cartoonist and his white-haired father warmly greeted childhood pals, coffee-drinking buddies and church friends who flocked to the cozy art space. Gary, low-key in Wranglers, a black T-shirt and a sweater, reminisced about playing trumpet in the high school band with Phil Sartin, a local resident. He hugged a classmate, Sue Payne, who watched him draw his way through elementary school and recalled him ?always doing dinosaurs.? He smiled when his high school art teacher, Lillian Thompson, recounted his struggles with a geometric art project. And when someone asked for an autograph on a Jimbo comic book, Gary sat down and drew a cartoon. Gary?s mother, Merle, beamed. Asked about her son, she pulled out a set of handwritten notes. ?Gary has always been a winner,? she said, breezing through his groundbreaking career with a mother?s-eye view: from the monster-drawing contest that he won as a child and the spot he earned in a Yale summer art program in college to the honor of having a restaurant in Japan name a hamburger after him as his career took off. She talked about his Emmys (one of which sits in her home) and the Chrysler Design Award he received in 2000 for his influence on American art and culture ? two years before Steve Jobs was deemed worthy of the same honor. Gary credits his father, who managed dime stores in Oklahoma before moving his family to Sulphur Springs in the 1950s. Mel painted cartoons over his oldest son?s crib and encouraged him to draw as soon as he could hold a pencil. ?By the time I was 11, I knew I wanted to be a modern artist,? Gary said. Modern with a decidedly freaky edge. Monsters became a mainstay after Gary saw the movie fanzine Famous Monsters of Filmland. Copies of Mad magazine from a downtown drug store were also transformative influences, along with the Frank Zappa albums he found at a local music store. All that still puzzles Gary?s parents, who prefer the six-days-of-creation diorama he painted as a teenager for their Church of Christ. ?We?ve always been amazed at Gary, and we?ve always gone along with him,? Merle said. ?Some of his stuff I?m not too proud of, but say we?ve always been supportive.? Gary knows his acid-trip oeuvre is beyond weird for his parents and his hometown. He was not surprised that none of his art had sold there by the new year, though he priced it at half the usual $1,000 per painting. Yet the place, its landscape and even his parents? fundamentalism infuse his work, even if in rebellion. Last fall, Gary created an illustrated essay for a new McSweeney?s food magazine, Lucky Peach, to celebrate the peanut patties, Tex-Mex, barbecue and other Texas staples that he savors in his hometown. His newest comic collection, to be published next spring, includes an introduction that he says amounts to ?the history of Sulphur Springs in geologic terms.? The joint show, which will hang at the gallery until spring as a family gift to Sulphur Springs, is its own work of art, one that neither father nor son could have created alone. ?Gary has never painted a bluebonnet,? Mel said, ?and the closest I come to monsters is a buffalo.? Lee Hancock was a reporter for The Dallas Morning News for 24 years
Mel Panter "Buffalo And Hunter" Original Oil On Canvas Painting 20x24 canvas 25x29 frame Framed in nice rustic natural wood frame. Mel Panter is well known in Texas for his Texas landscapes and indigenous people and animals. He is the father of "PeeWee's Playhouse" visionary, Gary Panter. From NY Times http://www.nytimes.com/2012/01/08/us/mel-and-gary-panter-have-a-father-and-son-art-exhibition-in-sulphur-springs.html?_r=0 SULPHUR SPRINGS ? It was a perfect family moment for Gary Panter ? the punk visionary, underground comics master and ?Pee-wee?s Playhouse? set designer ? and his father, Mel. The son?s culture-bending Day-Glo artwork was displayed in a small-town gallery in Northeast Texas alongside his father?s oils of iconic Texana. Gary, 61, flew in from New York for the holidays with 11 of his paintings for his first art exhibition in his sleepy hometown of 15,400, about 80 miles northeast of Dallas. Son and father toted their work to the downtown Connally Street Gallery, and their show?s Dec. 26 opening night had the jarring yet oddly sweet feel of performance art. Gary?s masonite boards featured seminaked women, a head-chopping cyclops named Andy and a doe-eyed goldfish. On his father?s canvases, cowboys galloped after stray dogies or dozed in bluebonnets, Indians rode in canyon shadow, and longhorn and buffalo stood as proud as stock-show champions. ?Seeing my work next to his, it?s a wonderful thing,? Gary said, smiling at his 84-year-old father and munching on Walmart-brand pimento cheese on white bread. ?He?s a serious artist.? As is Gary. He is best known for creating the outlandish world of ?Pee-wee?s Playhouse,? which won him three Emmys and forever altered Saturday morning television. Before that, he defined punk art and culture, creating album covers for musicians as varied as the Red Hot Chili Peppers and Doc and Merle Watson. His work so influenced his friend and fellow artist Matt Groening, creator of ?The Simpsons,? that Bart?s spiky hairline is in homage to Gary?s cartoon character, Jimbo. In the fall, an art-comic magazine declared Gary the Jackson Pollock of comics. The idea for the father-son show came in August, when Gary visited for a high school reunion. Pam Elliott, whose husband was a few years behind him, mentioned opening an art gallery downtown. She jokingly asked if Gary might show his work. He proposed a Christmas show. Mel offered his art, and Gary promised to bring as many paintings as he could fit in his carry-on luggage when he, his wife and their daughter flew down for the holidays. On the night after Christmas, the cartoonist and his white-haired father warmly greeted childhood pals, coffee-drinking buddies and church friends who flocked to the cozy art space. Gary, low-key in Wranglers, a black T-shirt and a sweater, reminisced about playing trumpet in the high school band with Phil Sartin, a local resident. He hugged a classmate, Sue Payne, who watched him draw his way through elementary school and recalled him ?always doing dinosaurs.? He smiled when his high school art teacher, Lillian Thompson, recounted his struggles with a geometric art project. And when someone asked for an autograph on a Jimbo comic book, Gary sat down and drew a cartoon. Gary?s mother, Merle, beamed. Asked about her son, she pulled out a set of handwritten notes. ?Gary has always been a winner,? she said, breezing through his groundbreaking career with a mother?s-eye view: from the monster-drawing contest that he won as a child and the spot he earned in a Yale summer art program in college to the honor of having a restaurant in Japan name a hamburger after him as his career took off. She talked about his Emmys (one of which sits in her home) and the Chrysler Design Award he received in 2000 for his influence on American art and culture ? two years before Steve Jobs was deemed worthy of the same honor. Gary credits his father, who managed dime stores in Oklahoma before moving his family to Sulphur Springs in the 1950s. Mel painted cartoons over his oldest son?s crib and encouraged him to draw as soon as he could hold a pencil. ?By the time I was 11, I knew I wanted to be a modern artist,? Gary said. Modern with a decidedly freaky edge. Monsters became a mainstay after Gary saw the movie fanzine Famous Monsters of Filmland. Copies of Mad magazine from a downtown drug store were also transformative influences, along with the Frank Zappa albums he found at a local music store. All that still puzzles Gary?s parents, who prefer the six-days-of-creation diorama he painted as a teenager for their Church of Christ. ?We?ve always been amazed at Gary, and we?ve always gone along with him,? Merle said. ?Some of his stuff I?m not too proud of, but say we?ve always been supportive.? Gary knows his acid-trip oeuvre is beyond weird for his parents and his hometown. He was not surprised that none of his art had sold there by the new year, though he priced it at half the usual $1,000 per painting. Yet the place, its landscape and even his parents? fundamentalism infuse his work, even if in rebellion. Last fall, Gary created an illustrated essay for a new McSweeney?s food magazine, Lucky Peach, to celebrate the peanut patties, Tex-Mex, barbecue and other Texas staples that he savors in his hometown. His newest comic collection, to be published next spring, includes an introduction that he says amounts to ?the history of Sulphur Springs in geologic terms.? The joint show, which will hang at the gallery until spring as a family gift to Sulphur Springs, is its own work of art, one that neither father nor son could have created alone. ?Gary has never painted a bluebonnet,? Mel said, ?and the closest I come to monsters is a buffalo.? Lee Hancock was a reporter for The Dallas Morning News for 24 years
Includes: A) Johnny Ryan, 'Peckersaurus,' serigraph, signed and dated '04 in pencil lower right and titled and number 88/100 lower left. B) Frank Kozik, 'Vertigo Vinegar Madonna' concert poster, serigraph, signed in pencil lower right and numbered 193/260 lower left. C) Gary Panter, 'A Walk on the Wild Side' show poster, offset lithograph, signed in pen and date stamp of Jul - 4 2005 lower right. D) Mark Henson, untitled full-bleed poster, signed in paint pen lower right. Sheet sizes range 15 x 19 to 22.5 x 17.5 inches.
TWO MORE. Danny Hellman, six serigraphs, three signed in pencil, three signed in pen. All have sheet sizes of 14 x 11 inches. Plus a Gary Panter serigraph titled 'Picture Box,' signed in pencil lower left and numbered 6/40 and dated 2007 lower right, measuring 15.5 x 12 inches. And a Takashi Nemoto serigraph signed in pencil lower left, measuring 14.75 x 10.25 inches.
Includes 'Meanies' with Gary Panter, Krystine Kryttre, Mats, Hilvitz, Spain, Kaz, S. Clay Wilson, published by Jeffrey Weinberg, published by Water Row Press, with signed plate affixed inside cover, folio, softcover. Also an art folio titled 'Panter Versus Beyer,' CBO Editions 2003, also folio, four fold-out art prints.
GARY PANTER (American, b. 1950) Hup cover, Tricerelex's Tractor diptych, 1977 Mixed-media on paper 22.25 x 30 in. Signed right-center This piece is a diptych. Each half has an image area of 22.25 x 15 in.
Red Hot Chili Peppers Gary Panter Original artwork for the cover of the Red Hot Chili Peppers' 1987 album Uplift Mofo Party Plan painted by renown artist Gary Panter. The gouache on paper has been cut down the middle to separate what would become the front and back covers of the album. Inscribed in pencil on the bottom border, PLEASE RETURN ART TO GARY PANTER (address). Framed, 50x35in.