In the months following my first exhibition at Vox Populi
(American Fine Arts Co.), a small group of artists working
primarily in the East Village began to be loosely grouped as a sort of nascent movement. The artists in question were clearly opposed to the then current work being shown in New York galleries, which involved either the German imports (Kiefer, Immendorf, Baselitz, etc.) or their American counterparts (Fischl, Salle, Haring, Graffiti etc.). The work was much cooler and analytical, and often cited the writings of the French Deconstructivists (Derrida, Beaudrillard, Kristeva...)
It was variously called Smart Art, Neo-Geo, Consumer Critique, or simply "It". During this moment Curators, (most notably Tricia Collins and Richard Millazo), took on a new found power as proto-artists in their own right, and the gallerists running many of the most
influencial spaces ( Peter Nagy, Meyer Vaisman, and Colin DeLand) were also exhibiting in many of the same shows.
Paravision at Margo Leavin Gallery
Los Angeles, California
July 12- August 23, 1986
Curated by Tricia Collins and Richard Millazo
read original curator statement >
read original reviews >
Supermannerism at Davies-Long Gallery
Los Angeles, California
July 31-September 6, 1986
curated by Klaus Ottmann
The Art of the Real at Galerie Pierre Huber
June- July 1987
Geneva Switzerland
curated by Robert Nickas
(American Fine Arts Co.), a small group of artists working
primarily in the East Village began to be loosely grouped as a sort of nascent movement. The artists in question were clearly opposed to the then current work being shown in New York galleries, which involved either the German imports (Kiefer, Immendorf, Baselitz, etc.) or their American counterparts (Fischl, Salle, Haring, Graffiti etc.). The work was much cooler and analytical, and often cited the writings of the French Deconstructivists (Derrida, Beaudrillard, Kristeva...)
It was variously called Smart Art, Neo-Geo, Consumer Critique, or simply "It". During this moment Curators, (most notably Tricia Collins and Richard Millazo), took on a new found power as proto-artists in their own right, and the gallerists running many of the most
influencial spaces ( Peter Nagy, Meyer Vaisman, and Colin DeLand) were also exhibiting in many of the same shows.
Paravision at Margo Leavin Gallery
Los Angeles, California
July 12- August 23, 1986
Curated by Tricia Collins and Richard Millazo
read original curator statement >
read original reviews >
Supermannerism at Davies-Long Gallery
Los Angeles, California
July 31-September 6, 1986
curated by Klaus Ottmann
The Art of the Real at Galerie Pierre Huber
June- July 1987
Geneva Switzerland
curated by Robert Nickas
Paravision invitation (front)
Paravision installation view
from left (Hopkins, Wallace & Donahue, Otterson, Welling, Bleckner,
Bender, Vaisman, Charlesworth)
Paravision detail
back wall from left (Hopkins, Wallace & Donahue, Brown )
Paravision
Capital Project: Untitled ( Belong )
Fluorescent Alkyd on canvas
96" x 96"
1986
Supermannerism exhibition invitation (front/above, back/below)
CCapital Project: Untitled ( Your Smiling Face) prior to installation
Fluorescent alkyd on canvas
96" x 96"
1986
Exhibition View Supermannerism
from left (Peter Hopkins, Moira Dryer)
The Art of the REAL invitation (front)
From the exhibition The Art of the REAL
Capital Project: Untitled (Transmission)
alkyd and metal foil on hexalite panel
24" x 18" x 6"
1987
From the exhibition The Art of the REAL
Capital Project: Untitled (the Perfect Kiss)
fluorescent alkyd on hexalite panel
24" x 18" x 6"
1987
From the exhibition The Art of the REAL
Capital Project: Untitled (It's a Small World After All) left
Capital Project: Untitled (Have a Nice Day) right
fluorescent alkyd on hexalite panel
96" x 24" x 6"
1987
Detail Capital Project: Untitled (Have a Nice Day)
Detail Capital Project: Untitled (It's a Small World After All)