Amid one of the most divisive and chaotic election years in recent history, Ward Sutton brings his diamond-edged satire — often targeting conservative and right-wing politics — to the Subliminal Projects Gallery, in Los Angeles. The four-artist exhibition, American Punchline, running through November 9, features Sutton under his nom de cartoon, “Stan Kelly,” alongside other contemporary artists — including Shepard Fairey, the gallery’s owner and creator of the Obama “Hope” poster — who use humor and unconventional styles to confront and critique America’s current political climate.
Sutton, a Minneapolis native now residing in Fort Collins, Colorado, is perhaps best known for his comic strip “Sutton Impact,” which ran in the Village Voice from 1995 to 2007. In recent years he has continued to contribute sardonic broadsides to the Voice, as well as doing caustically funny illustrations for such publications as The New York Times, Rolling Stone, Time, and The New Yorker. He has also developed a divided online following for his alter ego, “Stan Kelly,” who appears in Sutton’s political parody cartoons for the Onion. (Some followers do not perceive Kelly’s views as satirical.) These comics present a caricature of a misguided, bombastic, ultraconservative cartoonist whose takes are intentionally absurd, and yet — amid the swamp gas of QAnon and X conspiracy posts — often eerily familiar.
Sutton’s contribution through his satirical alter ego, Stan Kelly, provides a complex perspective — a balancing act between outrage and self-aware irony.
Sutton’s comic-strip illustration style consists of a clean and precise ink line in highly detailed panels filled with quirky characters and satirical in-jokes, reminiscent of vintage comics, but with his own personal approach. If you haven’t seen Sutton’s work before, it might still feel familiar through his extensive body of print work, as well as animation projects for HBO, VH-1, and TV Land.
Debuting here as a fine artist, Sutton presents the “Stan Kelly” artworks as a MAGA conservative’s fever dream, each canvas depicting absurd and satirical visions from a right-wing perspective. Most pieces are accompanied by commentary from a small self-portrait of Kelly in the bottom-right corner, adding an extra layer of irony. One personal favorite, titled “America the Barbarian” and reminiscent of a vintage Savage Sword of Conan comic-book cover, depicts a burly Uncle Sam wielding giant axes labeled “Exceptionalism” and “Military Might” while confronting parodies of America’s virtues. Another piece, which distinguishes itself from the satirical works, is an abstract take on Lady Liberty, showcasing Sutton’s intricate line work in black and white acrylic on canvas. It’s visually complex, witty, and stands out as a strong, surreal painting.
American Punchline, curated by Sara Lois Kaplan, marks a significant moment of reflection in American art and politics. With the unpredictable nature of the 2024 presidential election as a backdrop, the exhibition explores the well-trod line between satire and reality. Sutton’s contribution as his satirical alter ego provides a complex perspective — a balancing act between outrage and self-aware irony. Joining Sutton in the show are Fairey, guerrilla poster artist Robbie Conal, and Nadya Tolokonnikova, of Pussy Riot — figures renowned for turning activism into artistic expression. Sutton’s work fits seamlessly alongside these fellow artist-activists, each of whom brings a distinctive graphic approach to addressing the volatile climate of American politics.
Subliminal Projects Gallery, located on Sunset Boulevard in Echo Park, near Dodger Stadium, has long been a haven for marginalized artists and art that embraces confrontation. Founded by Fairey and skateboarder Blaize Blouin, it was established originally, in 1995, as a way to introduce skateboard culture and design to the art world, evolving into a vital platform for those who push the boundaries of mainstream art and activism. With American Punchline, the gallery continues its tradition of providing a space for artists to engage critically with pressing social issues, at the intersection of culture, politics, and creativity. ❖
Darrick Rainey has been making publications look good (and occasionally, himself) since the late ’90s, as art director for New Times and Village Voice Media, including LA Weekly, the Village Voice, and SF Weekly. He also served as the editor-in-chief of LA Weekly, shaping its visual and editorial voice.
