L: Barbara Kruger, Untitled (He entered shop after shop…), 2008 R: Eric Fischl, Rebirth I: (The Last View of Camiliano Cien Fuegos), 1986. All images courtesy of Haunch of Venison, New York.
On view at Haunch of Venison New York, until May 1, 2010, is “Your History Is Not Our History.” Organized by artists David Salle and Richard Phillips, this group show presents works produced in 1980s New York City.
Including works by Donald Baechler, Jean-Michel Basquiat, Ross Bleckner, Francesco Clemente, Carroll Dunham, Eric Fischl, Robert Gober, Jeff Koons, Barbara Kruger,Louise Lawler, Sherrie Levine, Malcolm Morley, Richard Prince, David Salle, Julian Schnabel, Cindy Sherman, Laurie Simmons, Jenny Holzer, Phillip Taaffe, Terry Winters and Christopher Wool, this exhibition seeks to convey “a more accurate portrayal of the energy and experimentation that was permeating the city during that time,” says Phillips.
L: Christopher Wool, Untitled, 1988 C: Jeff Koons, Buster Keaton, 1988 R: Eric Fischl, The Old Man’s Boat & The Old Man’s Dog, 1981.
More text and images after the jump…
According to Salle and Phillips, the work of the time came out of “a shared feeling for life ‘in extremis'” and “strives to help us better understand the web of influences that conjoined in the 1980s to produce a strikingly original and inventive new artistic environment.”
Installation view, Your History is Not Our History: New York in the 1980s
“The purpose of the show,” they relate, “is to place these works side by side and let them speak to each other (and to us) in ways that have previously been denied. ‘Your History is Not Our History’ is not an overview of the decade but rather a meditation on the commonalities shared by artists responding to a specific cultural situation.” Not only does the gallery not represent any of the artists in the show, but they are a young gallery with no ties to this era; Haunch of Venison presents a welcoming platform for an unbiased look at this period.
As for a general thread that bind together the work on view, Salle states,”The emotional current that runs through much of the best work of that time and is in some way its real subject is loneliness. The heroic or the abjectly un-heroic – the improvisational and the directorial – all resulted from a situation of dissipation that had to be upended: nowhere to go and no one much to go with.”
A fully illustrated catalogue has been published to accompany the show, which runs until May 1, 2010.
L: Julian Schnabel, Rebirth I: (The Last View of Camiliano Cien Fuegos), 1986. R: Jenny Holzer, 10 INFLAMMATORY ESSAYS 1979-82.
L: Robert Gober: Right Angle Sink. C: David Salle, Fooling with your Hair, 1985. R: Sherrie Levine, Untitled (After Walker Evans: negative) #8, 1989.
L: Barbara Kruger, Untitled, 1987, photographic silkscreen on vinyl. R: Robert Gober: Right Angle Sink, plaster, wood, wire, and lacquer paint.
L: Eric Fischl, The Old Man’s Boat & The Old Man’s Dog, 1981, oil on linen. R: Louise Lawler, Arranged by Avid Marron, Susan Brundage, Cheryl Bishop at Paine Webber, 1982, black and white photograph.
Francesco Clemente, Untitled, 1983, fresco in two panels.
L: Malcolm Morley, Landscape with Bullocks, 1981, oil on canvas. R: Jean-Michel Basquiat, Untitled, 1982, oilstick and paper collage on paper.
L: Phillip Taaffe, Queen of the Night, 1985, mixed media on canvas. C: Richard Prince, Do I Seem Insecure?, 1989, acrylic and silkscreen ink on canvas. R: Terry Winters, Flush, 1989, oil on linen. Front: Jeff Koons, Aqualung, 1985, bronze.
L: Robert Gober, Sleeping Man/Hanging Man, 1989, silkscreen on wallpaper. C: Jeff Koons, Aqualung, 1985, bronze. R: Jean-Michel Basquiat, Trunk, 1982, acrylic and oilstick on canvas.
L: Francesco Clemente, Untitled (Henry Geldzahler), 1983, oil on canvas. C: Carroll Dunham, Untitled, 1987, mixed media on veneer. R: Nan Goldin, Me on top of my lover, Boston, 1973, cidachrome.
Jeff Koons, New Hoover Convertible, New Shelton Wet/Dry 10 Gallon Doubledecker, 1981, Hoover Convertible, Shelton Wet/Dry, plexiglass, and fluorescent lights.
L: David Salle, Cold Child (George trow), 1986, oil on canvas. C: Louise Lawler, Who Says Who Shows Who Counts, 1989, cibachrome. R: Jean-Michel Basquiat, Untitled (Crocodile), 1984, oil and collage on canvas.
L: Julian Schnabel, The Jute Grower, oil paint, bondo, and broken china on wood. LC: Francesco Clemente, Naso, 1983, pastel on paper. RC: Ross Bleckner, Fence, 1985, oil on linen. R: Richard Prince, Untitled (Kool Aid), 1983, Ektacolor photograph.
- J. Lindblad
Exhibition Website [Haunch of Venison]
Artifacts: ’80s Repro Men [T Magazine]
Revision Quest [Critics Notebook: The New Yorker]
New York Picks [ArtForum]
Word Of Mouth [Paper Mag]
The Scene: Opening of “Your History Is Not Our History [Art in America]
The End of the ’80s [V Magazine]
Richard Phillips – Studio Visit [TimeOut NY]
Cell tower fight reaches Afton Park; ATT wants to build 150-foot tower near state park, visible from St. Croix River.(NEWS)
Star Tribune (Minneapolis, MN) August 19, 2011 Byline: JIM ANDERSON; STAFF WRITER Conservation and communication are on a collision course along the St. Croix River, where ATT has sparked yet another environmental clash by proposing to plant a cellphone tower at the doorstep of Afton State Park.
Coming hard on the heels of similar high-profile disputes across the state, including a court ruling earlier this month barring a 450-foot ATT tower near the Boundary Waters Canoe Area (BWCA), the latest plan calls for building a 150-foot-tall structure on a site surrounded on three sides by the park. this web site att uverse coupon code
“It just seems like you have to characterize this as an assault on what the public understands to be the most scenic treasures of our state,” said Bill Neuman, board president of the St. Croix Scenic Coalition, one of the conservation groups fighting the tower.
The Minnesota Department of Natural Resources (DNR) also is concerned about the appearance of proposed tower and its location, which the phone company says is the only site it could find to help eliminate a gap in cell phone coverage.
A judge denied ATT’s plan to install a lighted, 450-foot tower near the BWCA but allowed one less than half that tall. The Koochiching County Board recently turned down a 350-foot tower 3 1/2 miles from Voyageurs National Park.
A proposed 150-foot tower on private land in Franconia Township, about a mile from the St. Croix, has been in litigation.
The monopole, or single-piece, tower would be on land ATT has leased from Afton Alps Recreation Area, permit documents show, about a half-mile north of the main entrance to the state park and less than a mile from the St. Croix River.
At least five organizations — as well as several nearby property owners and the DNR — are opposing the proposal.
Like other groups, Neuman’s doesn’t oppose cellphone towers, but supports designs and heights that it says blend better with their surroundings.
It would be visible from river “The scenic impact is our main concern,” said Ron Carlson, conservation chairman of the Sierra Club St. Croix Valley Interstate Group. see here att uverse coupon code
The tower would be visible from the river, Kinnickinnic State Park in Wisconsin and County Road 21 (St. Croix Trail S.), a scenic roadway.
“It’s literally right in the middle of the doughnut hole of Afton State Park.” Alex Carey, a spokesman for ATT, said the company made an exhaustive search of sites that would meet complex zoning requirements while at the same time have the least impact on nearby property and still serve the needs of cellphone customers. Bluffs and valleys along the river make cellphone coverage a challenge.
“We have a coverage gap in the southern part of Afton and in the Afton Alps area,” he said. The site and tower design is the company’s best option, and located in land zoned as rural residential, according to ATT. The Denmark Township Board approved the plan earlier this month after it was cleared by its Planning Commission.
It faces two different reviews at the county level next week, said Dennis O’Donnell, Washington County planner.
First, on Tuesday, the 10-member county Planning Advisory Commission will hold a public hearing on ATT’s request for a conditional-use permit that would allow its construction, O’Donnell said. The panel’s decision is final unless ATT or other interested parties ask for an appeal, which would be taken to the Washington County Board.
Second, ATT also needs a variance before construction can proceed, which will be decided on Thursday by the five-member county Board of Adjustments and Appeals. Its decisions on variances are final.
‘Visual impact on the park’ County regulations require that cell towers have a buffer of at least a quarter-mile from the state park’s boundaries. The tower site complies, with the exception of one location that is 260 feet short of the requirement, O’Donnell said.
The variance effectively allows a bending of the rule, which is not unusual in zoning issues.
“It’s not on our property, but it is adjacent to our property, and we do have some concerns,” said Joel Stedman, central region manager of the DNR’s Parks and Trails Division.
The quarter-mile setback rule is a county regulation, not the state’s, Stedman said, and that proximity raises issues. “Even though it’s not on state property, it will have a visual impact on the park,” he said.
In a memo to the Planning Advisory Commission, the DNR is asking for consideration of other options: not building the tower; placing the communications equipment on an existing tower or structure; building a shorter tower; or disguising the tower using what are called “stealth” techniques.
Both Neuman and Carlson pointed to the construction of an 88-foot emergency communications tower in Afton by Washington County in 2009 that looks like a pine tree. “It can be done,” Carlson said. “We know it can be done because we did it in Afton.” “You can have your cake and eat it, too,” Neuman said. “What would be so bad about that?” Jim Anderson – 651-925-5038 Twitter: @ StribJAnderson
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