“Apotropaic Beatnik Graffiti” by Mark Mothersbaugh [Book Review]

Mark Mothersbaugh’s Apotropaic Beatnik Graffiti is a book like no other; no argument. At first glance, a volume of over 500 identical images of a pair of stylized, staring brown eyes, with a distinctively retro (1960s) feel. Each image of the eyes is adorned by Motherbaugh’s daily graffiti (sometimes more than one a day).

That the artist feels the need to add a guide telling us how to view the book suggests that it is not there to be merely dipped into, but the repetition of the pieces also makes it hard to plan a prolonged session in its company. This would possibly suggest an element of self-indulgence on his part, but this is art, where self-indulgence becomes artistic licence. Nobody is forcing you to look into these eyes.

Mothersbaugh is better known as a member of DEVO, the Ohio new wave band who, despite forming in the early ’70s, became known as a product of the ’80s due to their cult hit “Whip It” in 1980. Their appearance, usually in overalls with red cone hats, pointedly staring at the camera, provided a Stateside version of Kraftwerk and fiercely promoted ideas of pop art, surrealism, and Dadaism. If this book can be considered an extension of the DEVO movement, it might make more sense, or maybe it should be viewed as its own mysterious entity.

Various prefaces to the actual artwork provide some context, particularly the artist’s admission that he has always, in whatever capacity, been partially sighted, which has affected his view on life and, therefore, his art, be that in music or visuals. Whilst the daubing on each page, a mixture of seemingly random statements and comic book figures certainly tick the boxes of Beatnik graffiti, the apotropaic element may need more exposition.

Mothersbaugh attempts to put pay to the common assumption that the concept of the Evil Eye is purely evil and puts forth how it can also be a method of warding off evil spirits. Therefore, looking into these artificial eyes can perhaps provide the reader with a healing or cleansing process whilst providing entertainment at a more base level. Some of the images are genuinely funny, while others raise questions and set up food for thought.

A story is offered before the journey begins of a pirate entering a beatnik-strewn café in the ’60s, revealing his evil eye from behind his eye patch, only to be challenged by the waitress who keeps the evil eye in her pants. Their face-off opens up a time tunnel to 2017 when Mothersbaugh first revealed this project. So, the humour is intentional.

Mark Mothersbaugh, photo by Brent Broza

Random dips into the book see a left eye warning, “Stay away from the Bassline, it’s far too funky for this,” whilst the right calls out,“Shall we Roll?” Often, the eyes are in their own conflict.

Much like Yoko Ono’s Grapefruit book, this can be taken as a design for life if the reader chooses to go that far. “Watch your step, choose your weapon, then employ it, baby!” or “Try not to crumple that banana” might be sound advice, but “Did anyone see you come in? Look no further Fool!” may be an invite into some illicit behaviour. Solid soundbites and all.

The Americana of the images remains in the past with comic strip-style characters, seemingly ripped from 1960s funny pages, veering into the grotesque body horror of Robert Crumb at times and becoming gynecological in detail when the need arises. But mainly, the drawings are easy on the eye, re-delivering Mad Men-esque sloganeering from a lost age and placing them in a contemporary mindset.

Whether the artist is creating a targeted homage to Dadaism through his stream-of-consciousness ramblings, or merely opening his mind and inviting you to look into and beyond his eyes is up to the reader to decide. Either way, this is a fascinating trip into the mind of a unique artist.

Mark Mothersbaugh’s Apotropaic Beatnik Graffiti is available from big.cartel.com for $60 and is a thing of beauty.

Author: Mark Mothersbaugh
Publisher: Blank Industries
Release Date: March 12, 2024
Format/Length: Hardcover, 548 pages