The Collins & Milazzo exhibitions were a series of art exhibitions curated by the team Tricia Collins and Richard Milazzo, mainly in New York in the mid-1980s to early 1990s.[1][2]

From 1982 to 1984 the pair founded, edited and published Effects : Magazine for New Art Theory.[3]: 191 [4][5] Drawing on their experience with the magazine, in 1984 Collins & Milazzo began working together as curators to transform the group show into a critical statement.[6][7] Collins & Milazzo brought to prominence a new generation of artists in the 1980s.[8] It was their exhibitions and writings that originally fashioned the theoretical context for a new kind of Post-conceptual art that argued simultaneously against Neo-Expressionism and the Neo-pop Picture Theory work of The Pictures Generation.[9][10] It was through this context that the work of many of the artists associated with Neo-Conceptualism (or what the critics reductively called Simulationism and Neo Geo) was first brought together.[11]

Selected Collins & Milazzo exhibitions

  • Civilization and the Landscape of Discontent. Gallery Nature Morte, New York, March 1984.[10]
  • Still Life With Transaction: Former Objects, New Moral Arrangements, and the History of Surfaces. International With Monument Gallery, New York, March 28 - April 21, 1984.[12]
  • Natural Genre: From the Neutral Subject to the Hypothesis of World Objects. Florida State University Gallery & Museum, Tall., Fla., Aug. 31-Sept. 30, 1984.[13]
  • Still Life With Transaction II: Former Objects, New Moral Arrangements, and the History of Surfaces. Galerie Jurka, Amsterdam, November 1984.[14]
  • The New Capital. White Columns, New York, December 4, 1984 - January 5, 1985.[15][10]
  • Final Love. C.A.S.H./Newhouse Gallery, New York, March 15 - April 14, 1985.[10][3]
  • Paravision. Postmasters Gallery, New York, May 3 - June 2, 1985.[3]
  • Persona Non Grata. Daniel Newburg Gallery, New York, September 11 - October 5, 1985.[16]
  • Cult and Decorum. Tibor De Nagy Gallery, New York, December 7, 1985 - January 4, 1986.[3]
  • Time After Time (A Sculpture Show). Diane Brown Gallery, New York, March 8 - April 2, 1986.[17]
  • Spiritual America. CEPA, Buffalo, May 3 - June 15, 1986.[18]
  • Paravision II. Margo Leavin Gallery, Los Angeles, July 12 - August 23, 1986.[19]
  • Ultrasurd. S.L. Simpson Gallery, Toronto, September 1986.[20]
  • Modern Sleep. American Fine Arts Co., New York, October 17 - November 16, 1986.[21][22]
  • The Antique Future. Massimo Audiello Gallery, New York, February 13 - March 15, 1987.[23]
  • Extreme Order. Lia Rumma Gallery, Naples, May - July 1987.[12][24][25]
  • The Ironic Sublime. Galerie Albrecht, Munich, June 4 - July 18, 1987.[26]
  • The New Poverty. John Gibson Gallery, New York, October 10 - November 7, 1987.[12]
  • Media Post Media. Scott Hanson Gallery, New York, January 6 - February 9, 1988.[27]
  • Off White. Diane Brown Gallery, New York, May 24 - June 18, 1988.[28][20]
  • Art at the End of the Social. The Rooseum, Malmö, Sweden, July - October 1988.[20][29]
  • Hybrid Neutral: Modes of Abstraction and the Social. I.C.I. Exhibition: University Art Gallery, The University of North Texas, Denton, Texas, August 29 - September 30, 1988; J.B. Speed Art Museum, Louisville, Kentucky, November 7, 1988 - January 2, 1989; Alberta College Gallery of Art, Calgary, Alberta, Canada, February 9 - March 9, 1989;[30] The Contemporary Arts Center, Cincinnati, Ohio, March 31 - May 6, 1989; Richard F. Brush Art Gallery, St. Lawrence University, Canton, New York, October 12 - November 15, 1989; Santa Fe Community College Art Gallery & Museum, Gainesville, Florida, February 4 - March 18, 1990; Mendel Art Gallery & Museum, Saskatoon, Saskatchewan, Canada, July 1990.[31]
  • Primary Forms, Mediated Structures. Massimo Audiello Gallery, New York, September - October 1988.[32]
  • The New Poverty II. Meyers/Bloom Gallery, Santa Monica, California, December 3, 1988 - January 8, 1989.[33]
  • Pre-Pop Post-Appropriation. Stux Gallery, in cooperation with Leo Castelli, New York, February 3 - March 4, 1989.[34][35][2]
  • Buena Vista. John Gibson Gallery, New York, October 14 - November 11, 1989.[36]
  • The Last Laugh: Irony, Humor, Self-Mockery and Derision. Massimo Audiello Gallery, New York, January 6 - February 17, 1990.[37]
  • The Last Decade: American Artists of the ’80s. Tony Shafrazi Gallery, New York, September 15 - October 27, 1990.[38][39]
  • All Quiet on the Western Front? [75 Americans in Paris]. Antoine Candau, Paris, September 26 - December 31, 1990.[40][41][42]
  • Who Framed Modern Art or the Quantitative Life of Roger Rabbit. Sidney Janis Gallery, New York, January 10 - February 16, 1991[43]
  • Outside America: Going into the 90’s. Fay Gold Gallery, Atlanta, Georgia, March - April 1991.[44]
  • A New Low. Claudio Botello Gallery, Turin, Italy, May 9 - June 15, 1991.
  • New Era Space. New Era Building, sponsored by Leo Castelli, New York, October 3–28, 1991.[45]
  • Theoretically Yours. Regione Autonoma della Valle d’Aosta, Chiesa di San Lorenzo, Aosta, Italy, May 29 - June 28, 1992.[46]
  • Who’s Afraid of Duchamp, Minimalism, and Passport Photography? Annina Nosei Gallery, New York, October 1992.[47]

References

  1. ↑ "Collins & Milazzo". www.artforum.com.
  2. 1 2 Alexander, Max (19 February 1989). "ART; Now on View, New Work by Freelance Curators". The New York Times.
  3. 1 2 3 4 Pearlman, Alison (15 June 2003). Unpackaging Art of the 1980s. University of Chicago Press. ISBN 978-0-226-65145-3.
  4. ↑ Annette W. Balkema, The Photographic Paradigm, Henk Slager, 1997, p. 69
  5. ↑ Kirwin, Elizabeth Seton, It's all true: Imagining New York's East Village art scene of the 1980s, University of Maryland, College Park, Dissertations Publishing, 1999
  6. ↑ "The New Museum "Ungovernables" - a Cheat Sheet - artnet Magazine". www.artnet.com.
  7. ↑ Relations, Bard Public. "Center for Curatorial Studies, Bard College Receives Donation of the Papers of Influential Curator Tricia Collins | Bard College Public Relations". www.bard.edu.
  8. ↑ Alison Pearlman, Unpackaging Art of the 1980s, University of Chicago Press, 2003, p. 116
  9. ↑ "Allan McCollum | Collins & Milazzo". allanmccollum.net.
  10. 1 2 3 4 Indiana, Gary (2018-11-13). "The Collins-Milazzo effect". Vile Days: The Village Voice Art Columns, 1985–1988. MIT Press. p. 109. ISBN 978-1-63590-037-8.
  11. ↑ "Specific Object : Tricia Collins / Richard Milazzo". specificobject.com.
  12. 1 2 3 Welchman, John C. (2013). Art After Appropriation: Essays on Art in the 1990s. Routledge. p. 31. ISBN 978-1-136-80136-5.
  13. ↑ Natural Genre. Fine Arts Gallery, Florida State University. 1984.
  14. ↑ Kirwin, Liza (1999). It's All True: Imagining New York's East Village Art Scene of the 1980s. University of Maryland at College Park.
  15. ↑ "The New Capital". White Columns.
  16. ↑ Parachute (in French). Artdata. 1987.
  17. ↑ Christian, Abraham David; Gallwitz, Klaus (2003). Abraham David Christian: Bronzeskulpturen (in German). Kehrer. ISBN 978-3-933257-30-7.
  18. ↑ ""Spiritual America" CEPA 5/3-6/15/1986, 1986 | CCS Bard Archives". ccsarchives.bard.edu.
  19. ↑ Muchnic, Suzanne (26 July 1986). "FAMILIAR IDEAS IN THREE NEW EXHIBITS : COMMODITY-CULTURE ART RIDES AGAIN". Los Angeles Times.
  20. 1 2 3 Collins, Tricia; Milazzo, Richard (1988). Art at the End of the Social: Exhibition at the Rooseum, Malmö, Sweden, July 29-October 2, 1988. Rooseum. ISBN 978-0-945295-03-7.
  21. ↑ ""Modern Sleep" American Fine Arts, Co. 10/17-11/16/1986, 1986 | CCS Bard Archives". ccsarchives.bard.edu.
  22. ↑ Oliva, Achille Bonito (12 June 2000). Los manifiestos del arte posmoderno (in Spanish). Ediciones AKAL. ISBN 978-84-460-1110-1.
  23. ↑ Indiana, Gary (13 November 2018). Vile Days: The Village Voice Art Columns, 1985–1988. MIT Press. p. 388. ISBN 978-1-63590-037-8.
  24. ↑ New Observations. Peter Licht. 1987.
  25. ↑ Artscribe International. Artscribe. 1987.
  26. ↑ Milazzo, Richard; Bleckner, Ross (2007). The Paintings of Ross Bleckner. Distributed Art Pub Incorporated. ISBN 978-2-930487-01-4.
  27. ↑ Smith, Roberta. Art: 'Media Post Media,' A Show of 19 Women. {{cite book}}: |work= ignored (help)
  28. ↑ Smith, Roberta (18 June 1988). "Review/Art; Group-Show Survey: Downtown Galleries". The New York Times.
  29. ↑ ARTnews. Artnews Associates. September 1991.
  30. ↑ Milazzo, Richard (1 February 2015). "Jeff Koons: Shiny on the Outside, Hollow on the Inside, Part 2". Hyperallergic.
  31. ↑ "Hybrid neutral : modes of abstraction and the social / Collins & Milazzo, guest curators ; essays by Tricia Collins and Richard Milazzo, and by Gary Indiana". Smithsonian Institution.
  32. ↑ Perl, Jed (1991). Gallery Going: Four Seasons in the Art World. Harcourt Brace Jovanovich. ISBN 978-0-15-134260-0.
  33. ↑ ""The New Poverty II" Meyers/Bloom Gallery 12/3/1988-1/8/1989, 1988 | CCS Bard Archives". ccsarchives.bard.edu.
  34. ↑ ""Pre/Pop Post/Appropriation" Stux Gallery 2/3-3/4/1989, 1989 | CCS Bard Archives". ccsarchives.bard.edu.
  35. ↑ Welchman, John C. (11 January 2013). Art After Appropriation: Essays on Art in the 1990s. Routledge. ISBN 978-1-136-80136-5.
  36. ↑ Contemporanea International Art Magazine. Contemporanea, Limited. 1990.
  37. ↑ Flash Art. G. Politi. 1991.
  38. ↑ Contemporanea International Art Magazine. Contemporanea, Limited. 1990.
  39. ↑ "The Last Decade: American Artists of the '80s | Exhibition". ArtFacts.
  40. ↑ Artscribe International. Artscribe Limited. 1991.
  41. ↑ The New Yorker. F-R Publishing Corporation. 1990.
  42. ↑ Art press (in French). 1991.
  43. ↑ ""Who Framed Modern Art or the Quantitative Life of Roger Rabbit"". ccsarchives.bard.edu.
  44. ↑ Collins, Tricia (1991). Outside America: Going Into the 90's. Fay Gold Gallery.
  45. ↑ M/E/A/N/I/N/G. M/E/A/N/I/N/G. 1992.
  46. ↑ Taxiart (in Italian). 1992.
  47. ↑ "Who's Afraid of Duchamp, Minimalism, and Passport Photography? | Exhibition". ArtFacts.
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