Tricia Collins und Richard Milazzo
Tropical Codes
“The new conceptual work in New York right now entails, for the most part, a post-Simulation model involving the collapse of abstraction and appropriation into a hybrid form – a new cultural sandwich for informed mouths.”
– If we were going to paradigmatize the situation right now, if we were going to describe the locus of this work, we would want to put all of the terms surrounding the new conceptual work in New York in brackets.
– You mean the locus is always, in a sense, provisional, and, in a comparable way, for a change, you’d like the terms to be provisional also fully susceptible to the grandeur of disparity and contradiction, susceptible to the sematic drift implicit in the act of Scrutiny when it has been severed from its “proper” object.
– In actuality, it’s not that art is ever really dead, but that it is always dying. So, let’s say that it is more accurate to speak about the new post-Conceptual work in New Jersey [sic].
– I mean, in moving from the hype (of New Expression) to the hypothetical, you also don’t want to get trapped in the mystique of keeping a low pro file.
– Specifically, it (the recultivation of Concept) involves the collapse of abstraction and appropriation into a hybrid form. Witness Philip Taaffe work, or Peter Nagy’s new “cancer” paintings, or the malignant configurations in Joel Otterson’s new copper pipe sculptures.
– In the cancer paintings, Nagy “sandwiches” together the biological cell and…
