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Corporate Rebel Futzie Nutzle by Against the Encroaching Leviathan of the Corporation

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Corporate Rebel Futzie Nutzle by Against the Encroaching Leviathan of the Corporation \v t \\Y\fc\ Corporate Rebel Futzie Nutzle by against the encroaching leviathan of the Corporation. “The Nutty considers himself primarily self taught, but has Johnny Graham key is co-existence,” he says, “Competition without collaborated with artists “known, unknown, alive, and destruction. But competition is just the strive to win, that’s deceased” since 1962. His list of exhibitions over the years and all... I believe in the Work Ethic. That’s American. I work is long, showing that he rarely sits on his ass. As one close Scott Sedlik eight hours a day...” friend said, “He’s extremely prolific.” This perseverance The easel also is a symbol often seen in Nutzle’s work, has earned him a place in Who’s Who In American Art. But “I’m a walking contradiction,” says Futzie Nutzel. “I whether off in the corner of the drawing or taking center it was a bi-monthly column with Rolling Stone from 1975 to ' believe in self development and professionalism, and that stage. It represents the “stump” of a tree or a podium 1980 that demonstrated he had come a long way up the seems a paradox. How can one remain an individual and where someone, in the tradition of an orator, might stand pyramid since his first drawings published in his high still deal with the Corporation? explaining their position to the crowd. And from that school newspaper. Nutzle’s work, shown here in drawings from his easel podium, Nutzle explains his position. autobiographical FUTZIE NUTZLE (1983, Jazz Press) and “I like a personal interpretation of a drawing. When Modern Loafer (1981, Thames and Hudson), is highly self­ someone tells me a drawing or painting meant something to “So far the art has survived the absurdity of reflexive, examining the artist as an isolated individual them which I hadn’t thought of when I was painting it then the name and it seems the name has survived working against the power of the corporation, a power that fine! That gives me a hew way to look at it.” the absurdity of the art.” he believes “eliminates the individual." The familiarity of situations depicted in Nutty’s drawings We talked with Nutzle, a.k.a. “Corporate Rebel," by gives one a renewed understanding of the insanity of the phone from his top secret studio hideaway, but the tape human condition. The Filthy Rich cartoon reveals a It would seem that '“Corporate Rebel” is the perfect recorder, corporate dog that it is, failed to record our in­ satirical representation of a common scene in American monicker for Futzie Nutzle since the name encompasses terview. Based on our conversations with Nutty, as his society. Affluent culture often contains an abundance of both the ideas of the individual (“rebel” ) and the system he friends call him, and his lecture last Monday (sponsored by priceless garbage which goes unused. Nutzle relates this or she must work within to achieve recognition. But Nutty UCSB’s Book Arts Program), we will give you an idea of philosophy in his presentation by boiling it down to one or ain’t down on the Corporation; he understands the sym­ what the man who calls himself “a living cartoon” does. two descriptive words and a simple image. biotic relationship that It and the artist can have. It’s just Nutzle’s drawings are earmarked by their simplicity, The cover of his recent collection of autobiographical that “they have the chance to save the world,” but don’t improvisation, and even their imperfection. “They are like drawings depicts his personal interpretation of corporate pursue that chance. “Creativity is seen as a hobby these jazz, like Coltrane,” he says. “And the pen and ink bottle America and the theme of many of his drawings. The days. But what it’s all about is economics, isn’t it?” Again, are like instruments... I spent a long time trying to draw the drawing shows a man, an artist, maintaining his vision the concept of co-existence arises: the corporation will perfect picture, but found that I couldn’t. Sometimes the despite his surroundings. As Nutzle says, “Artists are continue its business of power but, as Nutty would like, the perspective is off, but that’s alright; it represents self persuaded to discuss or make statements about their work. artist can also continue his business of personal develop­ development.” I would prefer to think that the work make statements ment, available to and needed by the Corporation, but not Part of Nutzle’s style lies in his efficient use of a single about me.” smothered by it. The artist, in essence, must always be the line against a white background. Nothing is over-textured Nutzle’s pen and brush make people aware of the ab­ log cabin individual. or wasted, down to the last twig on a tree. surdity of televisions, computers, appliances... hell, Nutty’s desire is to travel to Japan with his work. He has It is in his paintings that one observes a move towards modern life. And Nutzle’s life is his art, but he doesn’t an interest in the way they value honorability. This would more visual as well as social involvement. The images consider himself the stereotypical artiste sitting around a parallel, it seems, his own idea about discipline, without work closely with one another and give weight to his Cor­ cafe sipping expresso. Responding to the volumes of sterile which he would not be able to produce the way he does. But porate Rebel stance. One of the best of those images is the textbook definitions of art, Nutzle merely says, “So far the it remains to be seen how the pilgrim of Corporate log cabin. To Nutsle the small but sturdy cabin represents art has survived the absurdity of the name and it seems the Rebellion will function in the empire of the Corporation. someone like himself, working honestly and diligently name has survived the absurdity of the art.” What do you think, Nutty? Can you do it? 2A Friday, April 26,1985 Daily Nexus Friday Magazine The Womens Room Stalls lined up like cattle Editors: How Strange, Christopher Croton porcelain and mirrors Scott Sedlik Congregate to excrete Contributors: and beautify. Robert Auci Ramin How Amusing. Lydia Emard Jessica Anne Saitz Ann Gallagher Anita Siu — A.M. Whiting Johnny Graham Dave Skinner Sean Haffey Jeannie Sprecher Amy Holmen Laura Svienty Anna MacKinnon Mitch Vicino Mary. Ellen Mason Angela M. Whiting Anita Siu CANCER. NOT Good friends keep you going KNOWING THE RISKS when all you want to do is stop. IS YOUR GREATEST RISK. A lot of people think cancer is un­ beatable. That simply isn’t true. In fact, over two million people have had cancer and survived to lead happy, normal lives. And not only can cancer be beaten, it can also be prevented. There are defi­ nite precautions that have been proven to decrease your risk of getting certain cancers. Talk with your physician about how often you need cancer-related checkups. Ask your local American Cancer Society to send you a free booklet about cancer risks. Learn the facts about cancer. And make not knowing the risks, one less risk. AMERICAN ip CANCER Your feet hurt. Your legs FSOOETf® hurt. Even your teeth hurt. But your friends thought How you live you looked terrific. And with may save your life. them urging you on, your first 10 kilometer race didn’t A public service of The finish you. You finished it. Now that you have some­ thing to celebrate, make sure your support team has D a ily the beer it deserves. Tonight, let it be Lowenbrau. N e x u s Löwenbräu. Hereis to good friends. Daily Nexus Friday, April 26,1986 3A Broadway I. R. T. The wheels screech, the train stops, the doors open She in pink Stepson. The doors close, the train starts, the wheels screech They in black Stare and know She’s from somewhere else. They only want to make her feel at home When the tunnel comes The lights go out, the doors stay shut, they touch Her body tenses Her mouth opens — The lights go on The wheels screech, the train stops, the doors open She steps out Their eyes follow Mitch Vicino Another. — Laura Svienty I, I, I, I, I’m not your stepping stone. BOUQUET She collected shells where water came to the edge of the sand at opposite ends of the country and mixed them in a basket beside her bed, a thousand miles from the ocean. Also she put dry flower buds there from a shriveled-up bouquet. She brought lovers from far away to that bed there, too. Where before there’d been sand and tar and tide-sounds, now they experienced lace sheets and were buried in soft white pillows that muffled piano music. Memories of pleasures of shells and eating cookies outdoors by a lake and candles hanging and smelling that black licorice plant that grows on all running paths. These are such thoughts of a woman’s mind as she lies tangled with her once far away lover. Jeannine Sprecher — Amy L. Holmen •A.S. TYPING SERVICE' FAST, ACCURATE WORD-PROCESSING See MDr. Zhivago" SERVICES. RESUMES, CLASS PAPERS, SUNDAY, APRIL28• Campbell Hall * 7:30 P.M. COVER LETTERS AND MUCH MORE. 1x2 CALL: 961-4471 • UCENRM.2273 Sounds liko multiplica­ OPEN 10:00 - 4:00 DAILY tion? Quass again. It’s Associated Students newspaper talk for a one column by 2-inch ad. Too I N otetakin g Typing small to be affective? I You’re reading this one! S f R o ic e C o n c e n t Fo r IsRaeJ In d e p e n d e n ce D ay Ceiebnation AN EVENING OF Cafe Sunday j EW|SH FOLK MUSIC >l And Pick Up A Coupon Good For Yonr Choice Off: Interim April — w i t h — ■ A.
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