like Georg Baselitz, Anselm Kiefer, Sigmar Polke, Jorg Immendorff, A.
But I had also forgotten what Gary calls the "struggle for dominance" between the neo-expressionists
, many represented by Civilian Warfare, and the neo-Conceptualists, who congregated at Nature Morte--two galleries that opened early and in the same month: May 1982.
Some likened him to the neo-Expressionists
and Jean-Michel Basquiat--that is, if the neo-Expressionists
and Jean-Michel Basquiat had studied with Hans Hofmann.
Writing on the neo-expressionists
in 1981, artist-critic Thomas Lawson sounds as though he could be discussing the artists here: "Appropriation becomes ceremonial, an accommodation in which collage is understood not as a disruptive agent .
Bringing together key painters of recent decades, including members of the Pictures generation (Jack Goldstein, Sherrie Levine), neo-expressionists
(Julian Schnabel), and representatives of pop-figural "bad painting" (Karen Kilimnik) and postfeminist transgression (Jutta Koether), along with younger artists who owe much to these precedents (Wade Guyton, Daniel Hesidence), Stroun stayed away from the kunsthalle's more temperate conceptual traditions and evoked a different one, getting as close to punk as the rectangular field allows.
This shift helps explain why these younger painters, unlike the neo-expressionists
of the 1980s, are part of rather than opposed to the traditions of Conceptual art.
The pieces are certainly less morbid than the backward-looking work the German neo-expressionists
were making at the time.
What makes Kippenberger's image particularly compelling, then, is his placing himself squarely within the frame, so that he deflates cliches of masculinity at once on-screen and within the day's living art world (where, one recalls, the critical operations of poststructuralists were just then clashing with the efforts of those neo-expressionists
seeking to resurrect the heroic artist of yore).
While this show concludes with work from 1981, it should perhaps be mentioned that by 1980, Bochner had moved painting from the wall onto stretched canvas with a sort of expressive, impastoed aplomb more closely associated with contemporaneous painting by a younger generation of neo-expressionists
Gallery), while Village versions of the big-time neo-expressionists
showed alongside the graffitists and folk primitivists at Gracie Mansion, FUN, and Civilian Warfare.
He saw a slide show of work by young German neo-Expressionists
(Salome, Rainer Fetting) in Leipzig in the early 1980s, but unlike many of his contemporaries he rejected such agitated gesturality.