The Painterly Mess
"It was as though art had been emptied out by formalism and we had to go back to the well and see what could be put back in." - David Salle
Notes on CMS Citations

VTLS Speaker, Artist, Rachel Mason
Wednesday, March 1
7 - 8 PM in AF 209 C

David Salle, Old Bottles, 1995.











"The kind of picture I have always endeavored to make has the energy of an abstract painting, but with representational images." - David Salle
Neo Expressionism
Telephone Booths

Richard Estes, Telephone Booths, 1968.
David Salle, The Miller's Tale, 1984.











"Four decades after Rauschenberg's original experiment, David Salle continues to turn out randomised montages of imagery which have little contextual significance apart from sexual references and homomorphisms (similarities between shapes). From a theoretical point of view what is interesting about such work is that it treats representational imagery like abstract form and colour. It is fundamentally formalist. In terms of deconstruction what is deconstructed is the boundary between abstraction and representation."

- Graham Coulter-Smith
David Salle, Colony, 1986.











"I pursue no objectives, no system, no tendency; I have no program, no style, no direction. I steer clear of definitions. I do not know what I want. I am inconsistent, non-committal, passive; I like the indefinite, the boundless; I like continual uncertainty." - Gerhard Richter
History In a Blur by Arthur C. Danto
Gerhard Richter, Woman Descending the Staircase, 1965.











To the Unknown Painter

Neo-Expressionism = style of modern painting that emerged in the late 1970s and dominated the art market until the mid-1980s. It developed as a reaction against the conceptual and minimalist art of the 1970s. Neo-expressionists returned to portraying recognizable objects, such as the body, in a rough and violently emotional way using vivid colours and banal colour harmonies.
Anselm Kiefer, To the Unknown Painter, 1983.









Eric Fischl, Bad Boy, 1981.










Eric Fischl, Old Man's Boat and the Old Man's Dog, 1982.
Theodore Gericault, Raft of the Medusa, 1818 - 1819.









Graffiti Aesthetics

1985 Whitney Biennial was called the "Graffiti Show"


Keith Haring drawing in the New York City subway, 1982.











Raymond Pettibon, Untitled (Before You Die), 1980.











Jean-Michel Basquiat & Al Diaz, Samo graffiti, 1978.











Jean-Michel Basquiat, Bird on Money, 1981.











Jean Michel Basquiat, Fallen Angel, 1982.





















Jean-Michel Basquiat, Red Man, 1981.
Jean Michel Basquiat, Skull, 1981.























Sugar Ray Robinson

Jean-Michel Basquiat, Untitled (Sugar Ray Robinson), 1982.











Sugar Ray Robinson

Often cited as the greatest boxer of all time, Sugar Ray Robinson competing in 200 professional bouts that included 108 knockouts in a career spanning 26 years
  • In his autobiography, Robinson wrote that he had spent all of his earnings (about $4 million) by his retirement
  • From the 1960s to his death, Robinson lived mostly in poverty
  • Upon his retirement, when awarded a trophy for his impressive career, he did not have a table strong enough to support its weight
Sugar Ray Robinson











Charles the First

Jean-Michel Basquiat, Charles the First, 1982.











Charlie Parker
Charlie Parker
Jean-Michel Basquiat, Horn Players, 1983.











Five thousand Dollars
Lizzie Himmel, Jean-Michel Basquiat, 1985.
Jean-Michel Basquiat, Five Thousand Dollars, 1982.