Art and NYC by Museyon

Author:Museyon
Language: eng
Format: epub
Publisher: Museyon
Published: 2016-04-23T16:00:00+00:00

JULIAN SCHNABEL, The Student of Prague, 1983, Solomon R. Guggenheim Museum.

David Salle (born 1952) Part of the original Mary Boone stable, Salle studied under John Baldessari at CalArts, where he developed a style that combined Pop Art pastiche with a renewed interest in figural painting.

David Salle.

Francesco Clemente (born 1952) Clemente was one of the “Three Cs” of the Italian Transavantgarde before he moved to New York in 1981. His work combines Surrealist and Expressionist styles with epic themes from history and religion, and influences from his extensive travels in India.

Eric Fischl (born 1948) Fischl joined Mary Boone’s gallery in 1984, after the initial Neo-Expressionist explosion. His paintings include images of affluent American life, at once grotesque and utterly banal.

Jean-Michel Basquiat (1961–1988) Basquiat got his start in the graffiti scene, but his mature paintings shared with the Neo-Expressionists an interest in history, world cultures and the formal qualities of color and brushstroke.

KEY EXHIBITION

Julian Schnabel April 4 – May 2, 1981

Mary Boone Gallery & Leo Castelli Gallery

While working as a chef at hot spot One University, Julian Schnabel approached Mary Boone and invited her to visit his studio. She was stunned by what she saw there: massive canvases covered in wax and oil paint. Boone began aggressively promoting Schnabel, and eventually convinced legendary dealer Leo Castelli—whose gallery was located in the same building—to give the artist a chance. “Here was something I was confronted with,” Castelli told writer Anthony Haden-Guest. “It was like when I went to see Jasper in ’57 or Stella in ’59. It was a coup de foudre.” With Schnabel, Castelli was able to align himself with a rising star, while Boone and the artist gained the approval of the old guard. Reviews were mixed, but the show was impossible to ignore.

“For eyes starved by the austere nourishments of Minimal Art, Mr. Schnabel’s work provides the pictorial equivalent of a junk-food binge,” wrote Hilton Kramer in The New York Times. “It is understandable, therefore, if it causes a certain amount of indigestion in the process.”

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