1983-1985
New York City
In June of 1983, after finishing my M.F.A. at the University of
Wisconsin I moved from Madison to New York City, and began
making works from my two bedroom apartment in Astoria, Queens.
Continuing the use of a computer in my art making process my
first works made while in the City were created from using the graphic markers on the keyboard ( <, >. /, +...etc) of my Commodor 64 to build dystopian images and then photographing the results
off a small black and white television monitor. In the months following I was curated into shows at Hall Walls in Buffalo by members of Group Material, and later into my first curated exhibition in New York City, Betaville, at the now defunct Crossroads Gallery on Broome St. The exhibition was based on Godard's film, Alphaville.
New York City
In June of 1983, after finishing my M.F.A. at the University of
Wisconsin I moved from Madison to New York City, and began
making works from my two bedroom apartment in Astoria, Queens.
Continuing the use of a computer in my art making process my
first works made while in the City were created from using the graphic markers on the keyboard ( <, >. /, +...etc) of my Commodor 64 to build dystopian images and then photographing the results
off a small black and white television monitor. In the months following I was curated into shows at Hall Walls in Buffalo by members of Group Material, and later into my first curated exhibition in New York City, Betaville, at the now defunct Crossroads Gallery on Broome St. The exhibition was based on Godard's film, Alphaville.
From Betaville exhibition
Capital Project: Untitled (Worker)
photograph from computer generated image
@ 16" x 22"
1983
In 1984 I moved into the top floor of 19 Hope St, a studio loft in Williamsburg, Brooklyn, ( One of the first artists studios in the area at the time). The artists Sam Messer, Scott Richter, and Michael Byron occupied spaces in same building. Proceeded to make the Black Paintings. Works using found or industrial materials (glue, found clothes, latex, cigarette butts etc.). Concepts revolved around Robert Smithson's ideas of Site and Non-Site, and how an art object is not merely the thing itself but also a social construction that radiates outward from it. These works were made from materials found on my daily trip to my studio from Queens to Brooklyn, and had to be finished before I left. They were then shot with my Nikon, often using just black and white film, and destroyed the next day. This methodology continued from spring of 1983 until late 1985.
Black Painting: Untitled (One Day's Cigarettes)
Cigarette butts imbedded on canvas with wax
@ 36" x 24"
Winter 1980
Black Painting: Untitled ( softball jersey)
Canvas stretcher with garbage and found sport jersey
@ 40" x 30"
1984
Black Painting: Untitled (plastic bag)
Small canvas wrapped in plastic bag with garbage and water from East River
@ 20" x 15"
1984
Black Painting: Untitled (spandex)
Painting stretcher covered in spandex with glue and garbage
@ 48" x 36"
1984
Black Painting: Untitled (garbage)
Painting stretcher covered in bed sheets with glue and garbage
@ 72" x 36"
1984