![]() In other sections of many of Wesley’s drawings, advertising phrases are featured with these logos. A drawing coming up for auction in Modern Design + Post-War & Contemporary Art on February 25 has the McDonald’s “Arches” featured prominently. You can see ads on the sides of buses or billboards in the Chicago skylines. These taglines and the companies they came from filtered into Wesley’s artwork. While many of his songs explored similar sonic realms, he was a master of memorization who liked to sprinkle his lyrics with advertising taglines such as “American Express, don’t leave home without it” (this would often end many of his songs). Wesley’s most streamed song on Spotify is “Rock N Rock McDonalds,” which has 1,674,312 plays (as of February 5, 2021). To catch up on Wesley’s music career, visit Spotify or YouTube to see him in action solo, or check out his recordings and performances with his heavy metal band the Fiasco on Spotify or YouTube.įar from being tangential to his drawing practice, Wesley’s music making complemented and interacted with his visual art in many cases. Wesley Willis takes a break from playing his keyboard at home to talk on the phone, 1992. Willis the Underground Musician and His Cult Following All in all, he embodied the strangest, most wonderful combination of charm and chaos.” - Carla Winterbottom on Wesley Willis He had a deep wisdom also, a sense of decency and a need to be a good citizen. The man knew happiness and it was infectious. Frankly, those were the biggest perks of being his roommate we were in cahoots while those moments escalated to a pure childlike glee. Double entendres, triple entendres, sound making, etc. In fact, he absolutely loved to laugh at his own antics and wordplay. No matter the obstacle (and there were plenty), Wesley was undaunted, and kept his sense of humor. “One thing that I just loved about Wesley, as a fellow artist, was seeing his sense of joy, dedication and discipline in making art. They had met at the Genesis Art Supply Store on Western Avenue where she worked. We hung my space with several of Wesley’s drawings and had an opening reception for him. ![]() I do not remember exactly how it came about, whether I asked Wesley himself or his good friend and roommate Carla Winterbottom. I finally had a show with Wesley in 1995. It was sort of like a Star Trek-style mind meld, where we would psychically join our thoughts and feelings at that moment. Whenever I crossed paths with Wesley, he would always want us to “head butt,” but in a gentle way, in which we simply connected our foreheads. (Photo by David DiTroia and courtesy of Carla Winterbottom) Wesley Willis at home with one of his drawings on the wall seated next to friend and roommate Carla Winterbottom, 1986. Sadly, I no longer have them, since they fell victim to a basement flood. He usually wanted me to get a drawing and mostly I could not, but sometimes I did. I often would see Wesley hanging out at the Copy Max below me or in front of Earwax Café. It was on the second floor of the Flatiron Arts Building and I could see everything at the bustling six-corner intersection. I had my Aron Packer Gallery space at North, Damen, and Milwaukee Avenues. I suppose I felt that I could not always spare the $10 or $20 they wanted.įast forward to Wicker Park in the early 1990s. Unfortunately, I did not get many at that point, just as I missed out on the works that Lee Godie sold directly around town. Early on, I started noticing that many friends had drawings by Wesley. My wife recalls spotting him at many Red Line stops and how he looked youthful like a boy then. I was getting interested in Outsider art, but I never really stopped when I saw Wesley at work. I was always in a rush, but I remember hearing about a guy carrying a folding chair and poster board around and doing drawings of the city with ballpoint pen. (Photo by and courtesy of Carla Winterbottom, manager for the American Records/Juxtapoz tour) Wesley Willis converses with fans after his concert/art show at famed music venue CBGB in New York City, 1996.
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