Classification: Print
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William Aubrey Walmsley (aka William Walmsley)
American, 1923–2003
Alabama-native William Walmsley’s prints are an intricate combination of layers of fluorescent color and text. In his work Walmsley includes personally relevant graffiti-like words and symbols across the composition. Ding Dong Daddy, Shoe Shoe is the first print where Walmsley distributed these symbols over a map of the United States. They help to convey the running narrative of the artist's alter ego, "Ding Dong Daddy," a character named after a real-life cable-car scoundrel from San Francisco. Although Walmsley was not a part of the seminal 1978 exhibition Bad Painting at the New Museum of Contemporary Art in New York, his process and technique fits within that context. Many of the "Bad Paintings" were very sophisticated, and the ironic use of the term 'bad' instead denoted the crude handling of paint. Additionally, like Walmsley, many of the "bad" painters incorporated autobiographical elements into their works.
American, 1923–2003
Ding Dong Daddy, Shoe Shoe
1971
Object Type:
Print
Dimensions:
16 3/4 in. x 23 1/2 in. (42.55 cm x 59.69 cm)
Medium and Support:
Color lithograph on paper
Accession Number:
1971.0007
Credit Line:
Montgomery Museum of Fine Arts Association Purchase, 12th Dixie Annual Museum Purchase Award
Alabama-native William Walmsley’s prints are an intricate combination of layers of fluorescent color and text. In his work Walmsley includes personally relevant graffiti-like words and symbols across the composition. Ding Dong Daddy, Shoe Shoe is the first print where Walmsley distributed these symbols over a map of the United States. They help to convey the running narrative of the artist's alter ego, "Ding Dong Daddy," a character named after a real-life cable-car scoundrel from San Francisco. Although Walmsley was not a part of the seminal 1978 exhibition Bad Painting at the New Museum of Contemporary Art in New York, his process and technique fits within that context. Many of the "Bad Paintings" were very sophisticated, and the ironic use of the term 'bad' instead denoted the crude handling of paint. Additionally, like Walmsley, many of the "bad" painters incorporated autobiographical elements into their works.
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